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MORITZ VON SCHWIND'S DES KNABEN WUNDERHORN '
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AN OUTLINE OF
GERMAN ROMANTICISM
1766—1866
BY
ALLEN WILSON PORTERFIELD
INSTRUCTOR IN GERMAN, BARNARD COLLEGE
COLUMBIA UNIVERSITY
GINN AND COMPANY
BOSTON . NEW YORK • CHICAGO • LONDON
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COPYRIGHT, 1914, BY ALLEN WILSON PORTERFIELD
ALL RIGHTS RESERVED
FT
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»« «t>cn«ii«i 9tt»M
CINN AND COMPANY ■ PRO-
PRIETORS • BOSTON • U.S.A.
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TO
TEACHERS WHO TEACH
AND STUDENTS WHO STUDY
GERMAN ROMANTICISM
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PREFACE
This outline was prepared for the benefit of advanced
students and those who teach advanced students. Suggested
by unforgetable experience, it is the outgrowth of an im-
pelling desire to enrich the efforts of those who give and
to clarify the labors of those who receive. An attempt
has been made to compile a textbook, a sort of literary
almanac, that would cost but little in money and would
save much time.
Neither history nor prophecy can point to a century so
abounding in spiritual phenomena as the one between 1766
and 1866, and the middle half of it is the richest. And the
period from 1790 to 181 5, the age of systematic Roman-
ticism, admits of so many different methods of approach,
that unless the master is able to eliminate the conventional,
the scattered facts about which there is no dispute, the dis-
ciple will not be able to assimilate the essential, the mean-
iiig of the literature itself, about which there is so much
discussion and on which, incidentally, the course is really
supposed to be given. Data are as important in literature
as in science ; fancy always starts from facts. But when a
teacher of literature is giving facts, he is giving what can
be derived from many other sources, he is being unoriginal.
When he is giving his own interpretation of the literature,
he is giving, even though he may have written a book on the
same subject, otherwise inaccessible material, he is being
[V]
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OUTLINE OF GERMAN ROMANTICISM
original. Originality is as indispensable in the teaching
of literature as in the writing of it. This outline contains
the facts ; the interpretation of the literature that grew out
of these must come from him who uses the outline. There
is every reason to believe that such interpretation will
come more easily and abundantly by using it. There is
even reason to believe that with the help of this outline
the course on German Romanticism can be begun where
it would otherwise almost stop.
Though the first of its kind, this outline is not in-
tended as a contribution to literature, but to the teaching
of literature. It is original only in conception and selection
and arrangement. The greater part of the information
it contains can be found in the **Allgemeine deutsche
Biographic," biefem gro^en griebl^of beutfd^en ®eifte^Ie6en§,
in Goedeke's ** Grundriss," in various manuals — Meyer,
Nollen, Bartels — and in some histories of German litera-
ture — Meyer, Riemann, Koch, Kluge, Konig, Kummer,
and especially Kummer. But for the student, and even
the teacher, of the Romantic period, there is always some-
thing wrong with these works. They are sold at a prohib-
itive price, or they are, for this and that reason, not at hand,
or they contain a good deal of ungermane, unavailal^e
and ungrouped material. The matter must be systematized,
the writers must be coordinated, if the student is to get a
clear conception of the parts to the whole and of the whole
as a movement. It disconcerts the beginner, and a depress-
ing majority of "advanced" students in America are be-
ginners, to find Brentano treated on the same page with
Novalis, Arndt discussed before Kleist, Lenau lifted out
of the movement and placed in a chapter on pessimism,
[vi]
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PREFACE
Grillparzer made a Romanticist, and so on. And as to
inaccessible books, Goedeke is replete with references to
works unattainable in this country and difficult of access
in Germany. Any general history of German literature of
about five hundred pages discusses about eight hundred
different writers. Manifestly in such a work facts and
interpretation must walk lock-step, so that it is impossible
to make the one complete by condensation or the other
definitive by elaboration. But by giving undisturbed atten-
tion to a single phase of a single period, it is possible to
settle one thing : it is possible to reduce the Philistinism
of the course to a minimum and thereby enable the students
to spend their limited time on that which is eternally worth
while, on the literature pure and simple.
This outline aims always at general thoroughness, never
at specific completeness. The works listed fall into two
classes : Literature and treatises on Literature. Of the
latter, no one has ever read them all ; it would be a loss of
time to do so since they repeat more or less. But some are
in one library, some are in another. The striking features
of the writer have, in each case, been kept rigidly in mind
in making the selection ; each work is listed but once, where
it most logically belongs ; and the number of pages is always
given. Haym's classic treatise consists of 951 pages, while
Born's excellent monograph on the Romantic School in
Germany and France has only 23. Jean Paul's ** Titan '!
is a novel with a short title and consists of 1287 pages,
while Kleist's ** Das Bettelweib von Locarno '* is a sort of
novel with a longer title and consists of 3 pages. The
student should be warned as to the size of his impending
task. The biographical resumes are omitted when not
[vii]
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OUTLINE OF GERMAN ROMANTICISM
relevant ; they are short when the author bears a somewhat
indirect relation to the movement, otherwise they are fuller
but, for good and sufficient reasons, in s)nioptic form ; while
they are written out in the case of Tieck and Novalis,
Arnim and Brentano, Kleist and Heine. Abbreviations are
not used. There is no doubt but that ©ttjgIS® can stand
for ©tubien jur t)er9leid^enben Siteraturgefd^id^te, but, to the
American student at least, seven such consonants look
cryptic and repel. German orthography has not been
modernized (the Romanticists delighted in archaic forms)
unless the old form was unpleasantly conspicuous. The
theologians and scientists and philosophers are given but
little space ; they did not write literature, nor did they write
directly about it. They are, however, important ** facts,"
to which attention should be called. The musicians and
painters are given a little more space, for they were
artists expressing their ideas in sounds and colors rather
than in vocables. A course is attached for the benefit of
the college student as over against the university student.
It contains those works with which the graduate student
should be familar at the beginning of his course.
All references to *' Warner's Library," to the **Biblio-
thek der deutschen Klassiker," to Kiirschner unless there
is no other reference, to the ** Allgemeine deutsche Bio-
graphic," to texts in German and English, valuable as these
sometimes are, to ©rlauterungen and their like, and to
Klopstock and the ©fittinger §ain at the beginning and
to Grillparzer at the end have been omitted; so has all
reference to Richard Wagner, bom two years before
Robert Franz. Popularly speaking, these things and these
men belong here ; accurately speaking, they do not.
[ viii ]
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PREFACE
Despite these omissions and the unbroken silence as to
Romanticism in England and France, this outline contains
those basic facts the existence of which is indisputable and
the importance of which is undeniable. But they are only
collected and prefaced. To go one step further would be
to encroach upon the independence of the instructor, to
enter into the interesting but infinite realm of interpreta-
tion, about which there will always be differences of opinion
and for which time and space and an audience are indis-
pensable. It is therefore plain that, though some of this
outline has been composed, more of it has been compiled.
To compile accurately is difficult, especially when the
sources differ, and there may be some errors in this com-
pilation. Notices of such (with the proofs), from mis-
spelling to bad judgment, will be gratefully received and
promptly utilized. It is at present my happy privilege to
acknowledge my sincere indebtedness to the proofreaders
of the Athenaeum Press, and to Mr. Gunther Keil, A.B.,
who read the manuscript with extreme care and made a
number of helpful suggestions pertaining both to form
and to content.
A. W. P.
New York
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CONTENTS
PART ONE
PAGE
INTRODUCTION xv
SECTION
I. THE WRITERS OF BEST SELLERS 3
C. F. Nicolai, J.J. Engel, J. H. Voss, A. H. J. Lafontaine,
Iffland, Kotzebue, K. Pichler, J. F. Rochlitz, Clauren,
Tromlitz, Raupach
II. STORM AND STRESS 8
Herder, Goethe, Schiller, J. G. Hamann, J. K. Lavater,
F. H. Jacobi, H. W. von Gerstenberg, J. M. R. Lenz,
F. M. von Klinger, Leisewitz, H. L. Wagner, Fr. Miiller,
J. J. W. Heinse, C. Stolberg, F. L. Stolberg, C. F. D.
Schubart
>. IIL THE CLASSICISTS OF WEIMAR 15
Goethe, Schiller
N^ IV. THE TRANSITIONALS 22
Richter, Holderlin
\ V. THE WRITERS OF THE BERLIN-JENA GROUP 30
Tieck, Wackenroder, Novalis, A. W. Schlegel, Fr.
Schlegel
VL THE FATE DRAMATISTS 47
Houwald, Milliner, Werner
VIL THE WRITERS OF THE HEIDELBERG GROUP 54
Amim, Brentano, Chamisso, Eichendorff, Uhland
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OUTLINE OF GERMAN ROMANTICISM
VIII. THE SIDE LIGHTS 72
Alexis, Amdt, Droste-Hulshoff, Fallersleben, Fouqu^
Freiligrath, Geibel, Grabbe, Griin, Halm, Hauff, Heine,
Herwegh, Hoffmann, Immermann, Kerner, Kleist, Kor-
ner, Lenau, Morike, W. Muller, Nestroy, Pl aten, Raimund,
Ruckert, Schenkendorf, E. Schulze, Schwab, Stifter,
Waiblinger
IX. THE WRITERS OF YOUNG GERMANY 139
Vamhagen, Borne, Menzel, Wienbarg, Laube, Mundt,
Gutzkow, Buchner
PART TWO
I. THE BACKGROUND 149
II. SOME DEFINITIONS 172
III. GENERAL TREATISES 188
IV. GENERAL TREATISES ON SPECIAL PHASES . 193
V. SECTIONAL TREATISES IN GENERAL HISTO-
RIES 201
VI. LETTERS OF THE MAIN ROMANTICISTS ... 207
VII. THE ROMANTIC MAGAZINES 211
VIII. FOLLOWERS OF THE BERLIN-JENA GROUP . . 217
IX. FOLLOWERS OF THE HEIDELBERG GROUP . . 220
X. THE PHILOSOPHERS 224
Kant, Fichte, Schleiermacher, Hegel, Schelling, Fries,
Herbart, Schopenhauer, F. E. Beneke, Feuerbach, D. F.
Strauss
XI. THE MUSICIANS 233
Kreutzer, Spohr, Weber, Silcher, Marschner, Lowe,
Schubert, Nicolai, Schumann, Lortzing, Mendelssohn,
Franz
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SECTION PAGE
XII. THE ROMANTIC PAINTERS 244
K. D. Friedrich, P. O. Runge, Peter Cornelius, Franz Pforr,
Fr. Overbeck, F. W. Schadow, Ph. Veit, J. Schnorr von
Carolsfeld, K. Rottmann, Joseph von Fuhrich, A. L.
Richter, M. v. Schwind, Fr. Preller, W. v. Kaulbach, J. W.
Schirmer, K. F. Lessing, K. Spitzweg, Eduard Steinle,
K. W. Hiibner, Andreas Achenbach, Alfred Rethel
XIII. AN INTRODUCTORY COURSE 255
INDEX 261
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INTRODUCTION
The equitable and unbiased study of a comprehensive
literary movement necessitates calm, disinterested objec-
tivity, which, in turn, is a matter of perspective, of what
Nietzsche may have meant by $patt)Oi§ ber 3)iftanj. We
must see the movement afar off ; it must all be over. And
we must study not only the movement itself but also the
phenomena that provoked it as well as those that it pro-
voked. Systematic German Romanticism is over. Asi a
movement it was of far-reaching consequence, beginning
and ending gradually. It requires, therefore, something
resembling audacity to set up a certain year and say, with
this it began, and then to set up another and say, with
this it closed. Safety, from the standpoint of ultimate
thoroughness, however, prompts the inclusion of an entire
century, while a number of things suggest 1766 and 1866
as the beginning and the end of the movement. In actu-
ality, 1767 would be a trifle better than 1766, but then
1867 would not do, hence a little juggling with dates.
In 1767 A. W. Schlegel, the oldest of the old Roman-
ticists, and W. V. Humboldt, one of the greatest scientists
of the movement, were bom. We do not, however, date
spiritual movements from the birth of the children of
men, but from the birth of the children of the minds of
inen. It was in this same year that Lessing started his
^* Dramaturgic/' anticipating Schlegel in his admiration of
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OUTLINE OF GERMAN ROMANTICISM
Shakespeare. And more important than this, for Roman-
ticism, was Herder's ** Fragmente,'* strongly influenced by
Lessing's " Literaturbriefe,*' and suggesting, sometimes
in a naive way, Uterally a host of ideas later to be devel-
oped, in a scientific way, by the members of the Romantic
fraternity. These works were conceived in 1766, the year,
incidentally, of Wieland's " Agathon," really the first of
that long series of Romantic Silbung^romane that termi-
nated with Immermann's ** Epigonen " in 1835. German
Romanticism started in 1766.
In 1866 the war between Prussia and Austria was
closed by the Peace of Prague. Riickert, who did more
than anyone else to introduce exotic verse and strophe
forms — Romantic forms — into German literature, died,
leaving only Morike and Geibel, and Herwegh and Fallers-
leben, to perpetuate the tradition. Reuter, Lingg and
Heyse were looming up, and Spielhagen finished " In Reih
und Glied." But one of the most significant happen*
ings of this year was the appearance of Ibsen's *' Brand.**
Though the letter of "Brand" was not translated into
German until 1872, its spirit was transferred to Germany
immediately. Then, Ibsen is German anyhow to a large
degree. And if one wishes to get a clear idea of the differ-
ence between Romanticism alive and dead, let him read,
say, Novalis' " Die Christenheit oder Europa," and Ibsen's
" Brand " with its powerful though blatant defamation of
the Church and its reference to the ecclesiastical Trinity
of Sctd^tftnn, SBal^nfinn and ©tumpfftnn at the end of the
first act. For such works to become predominant. Ro-
manticism must be dead. And concerning Ibsen, Paul
Schlenther wrote : @8 toax cine Suft ju lebctt, f otaitgc ©octl^
[xvi]
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INTRODUCTION
unb ©d^iUcr fd^ufen ; eig mar eine Suft ju leben, folangc btc
Slomantit btii^te — nun toax t^ tpieber cine Suft ju Icbcn,
benn mit un^ lebte ein S)id^ter, ber ben Sntiatt unferer Qdi in
eigene §dnbe nal^m. German Romanticism closed in 1866.
And between these two dates we have the Romantic
movement, passing, like a great book-drama, through seven
rather sharply defined stages as follows: Prelude, 1740-
1 766 ; Genesis, 1 766- 1 790 ; Rise, 1 790- 1 798 ; Pros-
perity, 1 798-181 5; Decline, 18 1 5-1848 ; Attenuation,
1848-1866; Postlude, 1866-1890.
The two conflicting parties in this drama were the head
and the heart, reason and fancy, skepticism and mys-
ticism, the objective and the subjective, the natural and
the strange, the plastic and the picturesque, the prescribed
and the elective, the Stoic and the Epicurean, the French
garden and the English garden, the paved road and the
pathless woods, the pond and the race, day and night, the
sun and the stars, and so on and on, for it just happens
that this world is built on a dual plan. It is the existence
of day, for example, that makes night possible. The sig-
nificant events in the five acts of this drama are out-
lined in the body of this book. It remains but to give the
plot of the drama as such and to say a few words about the
phenomena that preceded Romanticism and those that
followed — about the prelude and postlude.
A great stage drama, even one that develops a " Eurip-
idean situation,** and the action of which covers but a
single day, is always preceded by a long, entangling series
of anticipatory events. Romanticism also had its pre-
cursory symptoms, a very few of which were the following :
In 1740 Bodmer published his "Abhandlung von dem
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OUTLINE OF GERMAN ROMANTICISM
Wunderbaren in der Poesie und dessen Verbindung mit
dem Wahrscheinlichen." Among other things, Bodmer
said : S)er ^ott befummert fid^ nid^t urn boS SBal^rc bc8 SSer^*
ftanbe^ ; er f)at genug an bem SBal^rfd^cinfid^en ; biefe^ ift
SBal^r^eit unter Doraui^gefe^ten Sebingungen ; e^ ift 3Ba^reg,
fof ern afe bte 3)ingc unb bie 5pt)antafte tuatirl^aft ftnb ; t^ ift
Quf bag 3^"9tti^ berfelbcn gebauet. In 1741 Count von
Borgk translated Shakespeare's ** Julius Caesar ** into Ger-
man, and followed it up a few years later with ** Romeo und
Julia," thus anticipating Graf Wolf Baudissin (1789-
1878), Herwegh, A. W. Schlegel, Simrock, Tieck and
Wieland in the study of Shakespeare. In 1743 Bodmer
published his **Abhandlung von den vortrefflichen Um-
standen f iir die Poesie unter den Kaisem aus dem schwabi-
schen Hause,'* and in 1748 and 1758 and 1759 he and
Breitinger published selections from the ** Nibelungenlied "
and the Minnesingers. In 1748 Klopstock brought out
the first three cantos of his " Messias," giving thereby new
life, new possibilities to the German language and creating
interest, in an indirect way, in the great epics of the Middle
Ages. In 1 758 Lessing, whose interest in the first Classical
period was now awakened, said of the Old German songs
that Charlemagne had collected : O, tomn fie nod^ t)or=^
^anben tt)aren ! In 1749 Ewald von Kleist published ** Der
Friihling," endowing nature with a meaning undreamed of
by Lessing. When Kleist greets the unmade pathways of
the forest with S^r bunften einfamcn ®angc, btc i^r baSS)enfcn
erl^cHt, he is anticipating Tieck with a vengeance. Then
came 1762, with Rousseau's " Contrat '* and *' ifemile,'* and
the beginning of Wieland's translation of Shakespeare. In
1763 the Seven Years' War was closed and real German
[ xviii ]
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INTRODUCTION
patriotism began. And from then on, men like Bodmer,
Breitinger, Burger, Gleim, Holtz, C. H. Myller and Voss
were at work in the Mediaeval field, either as scholars or
as poets.
In short, in the science of literary history, nationalism,
Mediaeval Germany, nature, mythology, the literatures of
other lands, aesthetics, in all of these interest was being
awakened during the twenty-five years preceding the Storm
and Stress period, an interest so reasonable that one should
neither wonder overmuch at the ultimate elaborateness of
the Romantic programme, nor admire unreservedly and
without retrospection the excellence and apparent origi-
nality of its chief landmarks. " Des Knaben Wunder-
hom " was a real accomplishment ; but the first collector
of Old German songs was C. F. Nicolai, who published in
1777 his ** Feyner, Kleyner Almanach.*' Nothing seems
new except the oldest. The Romanticists did some lasting
work along the line of aesthetics, but as early as 1750
A. G. Baumgarten, professor at Frankfurt on the Oder,
began to publish his " Aesthetica,*' appealing with all his
power, based on long and deep study, for @inbilbung«fraft,
©mpfinbung, ©eful^I, ^rifd^e, ®eftaltenfulle,and not simply for
SBerftanb and SBernunft. And then at the end of it all came
Herder, whom Biese compares with Lessing as follows :
93ei Sefftng tpanbdn tt)ir auf ftd^ercm ®runbc, auf ber ®rbe,
unb crft na6) unb nad) fiffnen fid^ bic 3Beiten bc^ ^immefe ;
bet ^rbcr tuerben tuir freilid^ Don Slugeln in ben ^immel
getragen. . . . Sefftng t)atte iibet bie Sunft unb il^re ®efe^e ge==
bad^t, ^rber taud^t ba§ fd^arf ®ebad^te in fd^tparmerifd^e
©mpfinbung. Lessing died in 1781, Herder twenty-two
years later. The one was the finest type of Rationalist that
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OUTLINE OF GERMAN ROMANTICISM
Germany ever produced ; the other had an equally superb
type of Romantic mind. When Herder began to publish
his ** Fragmente," German Romanticism began to be.
The first act of the Romantic movement lasted from
1766 to 1790 and may be termed the time of ©ntftel^en.
During this pericki about thirteen young writers, Lenz,
Leisewitz and others like them, starting from Rousseau
and encouraged by Herder, Goethe and Schiller, set out to
revolutionize German literature from the twofold point of
view of form and content.. Following the lead of Kling-
er's notorious drama based on the American Revolution,
Tieck first called them the writers of Storm and Stress,
and the name has adhered to them ever since; there is
no reason why it should not, for its appropriateness defies
refutation. Tired of the gentleness and regularity of the
literature of their native land, they determined to put vim
and vigor into its content, and variety and daring into its
form. They succeeded ; indeed they did a deal of good de-
spite the fact that Karl Moor and Gotz von Berlichingen
begot by imitation a numerous and unworthy posterity.
But it should have been clear to each of them from the
beginning — they were all young — that such radical en-
deavor could not long survive its initial enthusiasm. And
when **Don Carlos'* appeared in 1787, and "Faust, ein
Fragment" in 1790, — a work begun much earlier and still
containing elements of juvenile fervor, — it was evident that
the curtain was soon to be rung down on a series of scenes
of which the spectators had now grown tired. Not one
single storm-and-throng writer remained loyal to the ebul-
lient cause throughout a long and ripe old age ; the affair
was history after 1790.
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INTRODUCTION
The second act lasted from 1790 to 1798 and may be
called the period of 9leif en. This act was more complicated,
more heated than the first. The Philistines felt that they
had won a signal victory by the retirement of their fiery
opponents, and became more perniciously active. Herder
became more of a problem. What Romanticism would
have been without him is a question ; and yet, possibly
owing to the fact that his ideas were now self-evident, the
physicist J. W. Ritter alone stood in sympathetic proximity
to him. And Kant became a problem. Though Romanti-
cism is hardly thinkable without him, it was a question
from the beginning^of overthrowing him. It was a question,
throughout the period, of the relation of reason to intuition,
of might to metaphysics, of force to feeling; and the latter
won. So far as created works are concerned, the key to the
act lies in Goethe's *'Wilhelm Meister," Fichte*s **Wissen-
schaftslehre," Schelling*s ** Philosophie der Natur," and
the works of Wackenroder. So far as the ultimate outcome
of the period is concerned, one must study the friendships
made and broken during this time. Goethe and Schiller
struck up a bond that was to last until the latter*s death.
The Schlegels, on the contrary, broke with Schiller for
good and all. Out of this reseating of the guests at the
poetic round table grew the necessity of establishing a new
journal, the Athendum, With its founding the curtain was
again to be rung down, this time not on an audience that
was wearied by what it had just seen, rather on one that
had become much interested, one that anxiously awaited
the new scenes that were to follow. After 1 798 Rationalism
became history and Romanticism an established reality for
the present.
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OUTLINE OF GERMAN ROMANTICISM
The third act lasted from 1798 to 18 15 and may be
designated the age of 93Ifit)en. Romanticism was at its
height. The Germany of the Germans never witnessed a
more intense spiritual era. Wackenroder, Novalis, Herder,
Kant, Schiller, Nicolai, Kleist, Wieland, Theodor Korner,
Iffland and Fichte, after having produced some works of
marvelous individuality, died. Such a mortuary record will
change completely the literary programme of any country.
Ten Romanticists were born, Morike, Freiligrath and Geibel
being the most important. Schleiermacher continued to
preach the God within us, Fichte the omnipotence of the
ego^ Schelling the spirit of nature. Dramatically it was the
age of Kleist and Zacharias Werner, philologically that of
the " Kinder- und Hausmarchen *' and '* Des Knaben Wun-
derhorn," of the translations of Shakespeare, the lectures by
Wilhelm Schlegel on comparative literature and those of
Friedrich on characteristics. A number of other Romanti-
cists wrote minor creative works, poems and novelettes
that are almost as much alive to-day as they were one
hundred years ago. Politically the Germans were, like
Goethe's Clarchen, now gum J^obe 6etru6t, now l^inunet
t)od^ jaud^jenb over the battles of Jena and Leipzig. If the
Romanticists ever came near realizing their much longed
for Golden Age, this was the time. But the pace was too
rapid. Spirituality in artistic form is good ; political and
social realities are necessary. And, though it sounds like
the irony that superciliously smiles at the laboriously but
effectively accomplished, when Napoleon was banished, the
happiest days of German Romanticism were gone and
gone beyond recall. With the battle of Belle Alliance
(Bismarck was bom in the same year) the curtain was to
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INTRODUCTION
be rung down for a third time and a new era was to begin.
The defeat of Napoleon placed tremendous responsibilities
on the shoulders of his Germanic foes ; but responsibilities
and Romanticism do not harmonize. After June i8, 1815,
the Slutejeit of German Romanticism became history.
The fourth act lasted from 181 5 to 1848 and must
be classed as the generation of Slbnel^men. Romanticism
slowly lost weight. It was the age of Young Germany,
that did journalistically about what Storm and Stress did
dramatically. And it was the age of Heine. About twenty
Romanticists died and only one, Herwegh, was born. The
period was not nearly so bright as the preceding one ; it is
always difficult for the dramatist to sustain interest after the
climax has been reached. It was the day of Xh^feuilleton
and of political poetry. Had not the third act been so illus-
trious, this one would have seen the end of Romanticism.
But there is a marked tenacity about things spiritual ; it
takes time to change from an Ofterdingen to a Tartufife,
just as it takes time to remould a Romanticist Tieck and
make him the Realist he became after about 1 82 1 . Roman-
ticism was indicted as early as 1830; the charges were
investigated and the indictment was sustained at the
Berlin revolution of 1848, when Frederick William IV
was obliged to relinquish his Mediaeval ideas of statehood
and grant an unromantic constitution to a realistically in-
clined people. After March, 1848, systematic German
Romanticism became history.
The fifth act lasted from 1848 to 1866 and should be
remembered as the epoch of SSergel^en. Romanticism had
not made good ; it had produced some literature of great
poetic beauty, but it lay far removed from the realities of
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OUTLINE OF GERMAN ROMANTICISM
life. It was now only a matter of time until the Romanti-
cists retired and the Realists took their place and their
supremacy was recognized. During these last eighteen
years some lyrics were written that betray their Romantic
ancestry, but the whole period was one of ever vanish-
ing Romanticism. And when the ancient and honorable
House of Hapsburg was eliminated from German leader-
ship and the scattered surviving erstwhile Romanticists
became Realists, Romanticism of any sort became history.
And now a significant question arises : What has been
the aftermath of German Romanticism ? From the point
of view of literature, pure and simple and durable, the
harvest has not been great in proportion to the labor ex-
pended. Literature has to do with life, and life has
changed. Precious little Romantic literature has been
written since 1866; between 1866 and 1890 there was
indeed next to none. It might be said that the most sig-
nificant event during this period was the appearance in
1870 of Rudolf Haym's " Romantische Schule." Since
1890 no other movement in German literature has been
studied more than Romanticism, and very many of the
monographs on the movement give evidence of ances-
tral gratitude to Haym's monumental book. Since 1890
there have been sporadic evidences of a Romantic re-
nascence also along literary lines ; it has been a realistic
age, and one tendency invariably calls forth the oppo-
site. Hauptmann has, on occasion, become symbolic ; so
have Sudermann and Heyse and Spitteler. Others have
become Romantic in other ways, but it has always been a
matter of fleeting mood rather than fixed disposition. We,
and the Germans, live in a totally different world. The
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INTRODUCTION
age that produced a Novalis or a Kerner cannot be dupli-
cated, the children of such an age no longer live among the
sons of men. The establishment of the German Empire, a
generation of armed peace, unexpected progress in science,
gratifying commercial prosperity dependent upon at least
apparent amicability with other nations, hitherto undreamed
of methods of travel between nations making the old sort
of cosmopolitanism a dream and the new sort a reality,
labor and labor laws and labor unions, the emancipation
and equalization of woman, the significant strides of
democracy accompanied by the inroads of socialism, even
the spread of sports so different from the days of Father
Jahn, — all of these things, and all of those other things that
branch off from them, make the glorification of the Hohen-
staufens (i 137-1254) an impossible anachronism and the
search for a blue flower an inconceivability. Germany
may, some day, witness another Romantic movement ; but
if so, it will be very different from the one of 1766- 1866,
which looked backward. The new one, if it ever comes,
will have been provoked largely by the apparently fantastic
strides of reliable science, that bears so slight a resem-
blance to the nightsideisms of i8cx), and it will seek its
Golden Age in the future. Speculation as to the r61e of
Romanticism in the literature of the future, however, is
and remains only speculation.
But Romanticism was much more than a literary move-
ment. The universities of Berlin (1809) and Bonn (18 18),
the science of philology, artistic verse and strophe forms,
the study of nature, the appropriation of foreign literatures
by translations, the music of Wagner and Liszt and Brahms,
the science of history and some of the things above noted
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OUTLINE OF GERMAN ROMANTICISM
as making modern Romanticism impossible, the establish-
ment of the German Empire, for example, — if all of these
things and their subdivisions cannot be traced directly to
the efforts of those men who lived and worked and wrote
and thought during the age that we call Romantic, then
there is no such thing as the sequence of events and
consequential reasoning is a delusion. Men are no longer
writing Romanticism, they have what the Romanticists
sought. The records of Romanticism are to be found not
only in the libraries but also out of them.
But it is only fair to say that the shield also has its
reverse side ; the aftermath has also been harmful. Fried-
rich Schlegel's " Lucinde *' appeared in 1799. It preached
moral shamelessness, and Schleiermacher, the preacher of
the School, approved of its ethics. These men overthrew
the old canons of morality without having sufficient strength
to set up new ones. Unconventional living and thinking
was one of the evils of German Romanticism. And another
was the exaggerated glorification of the Middle Ages,
superinduced by such works as Novalis* ** Die Christen-
heitoderEuropa," Wackenroder's " Herzensergiessungen "
and Tieck's ** Sternbald," and leading to an unhealthy re-
action in Church and State. In his ** Geistige und soziale
Stromungen im XIX. Jahrhundert" Theobald Ziegler
briefly defines this tendency as ein iJcrl^Sngni^DoHer 3^9
nad^ tud wart^, which it unquestionably was. And the third
weak spot in German Romanticism was, in plain language,
its whimsical and arbitrary fancifulness ; it was not true.
Following the lead of the first three fourths of ** Wilhelm
Meister,'* the Romanticists tried to introduce poetry into
life on all occasions and under all conditions, and in so
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INTRODUCTION
doing they forgot and neglected those eternal verities and
realities that really make life worth poetization. Irregularity
in life, Mediaevalism in history, fantasticalness in literature
— these are the three charges that any serious student can
prefer against German Romanticism. As to the extent to
which these charges still hold, each student must decide
for himself.
And so this great drama is over ; it is played out. It was
a wonderful production, however, in its day. Like "Gotz
von Berlichingen," it included every class and condition
of mankind and was made up of many scenes. It had its
fools and its philosophers, its priests and its worldlings,
its scientists and its poets, its historians and its prophets,
its idealists and its realists, its men and its women. At
times the action moved rapidly (1798-1815), at times
slowly (181 5-1848). Songs were interspersed; there was
incidental music ; the scenery was painted by the members
of the company. There were cheap spots in the drama
made to catch the eye and the ear of the public ; and they
succeeded, though they would not succeed now. And there
were purple patches that have since faded ; all things tem-
poral change, hence the mutability of literature. But there
are at the same time scenes in verse and prose, in sound
and color, that have survived and will survive because of
the immutability of the mind and heart of man.
Of the company that produced this drama, two, the
Dioscuri of Weimar, stand out. Goethe, like Graf von
Shrewsbury in ** Maria Stuart,*' preserved his calm, became
fanatic and factious never, and tried honestly to reconcile
the two camps. To a certain extent he succeeded. But
when he saw that the younger party wished to usurp
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OUTLINE OF GERMAN ROMANTICISM
certain powers, which usurpation his Olympian judgment
could view only with disfavor, he bade them a gracious
farewell and went his way. But he remembered them and
their ideals considerately in some of his epics and in more
of his lyrics, while he employed them fully and effectively
in the second part of Germany's greatest dramatic poem, in
the second part of his own life work. Schiller, Goethe's
friend from the beginning of systematic Romanticism on,
moved among them the great idealist, believing in God, in
Faith, in Virtue, in the dignity of Woman and the freedom
of Man. Be it said to their everlasting honor and his, he
too tried to become their friend and adherent. But like
his own Max, he could not and be true to himself, so he
bade them farewell definitely, on one certain day. But he
anticipated their ideals significantly in his Italian ghost-seer,
while he remembered them kindly in his Scottish lover,
his Gallic maid and his Grecian mother. The connection
of Goethe and Schiller with the Romantic movement is an
uncommonly instructive theme ; their defection from it was
a mutually unfortunate incident.
To revive and reproduce this old drama in its entirety
is impossible; its fable is out of date. To read it as a
book drama is instructive ; its fable once had its appeal.
To study its best scenes is inspiring. Just as certain old
operas, cantatas and masses contain tuneful arias buried
amid a heap of unmelodious song, so is the fable of this old
drama replete with isolated scenes that thrill, with stories
that charm, with thoughts that inspire, with canvases that
delight, with songs that exalt.
Systematic Romanticism has fallen. It fell, however,
as did Poland. Poland fell, but the Poles still survive.
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INTRODUCTION
Romanticism as a movement fell, but Romanticism still
survives. It survives, for there is something in the poetic
mind which refuses to be satisfied with the mere logic and
economics of life ; something which impels the poet to
go beyond accurate reason and photographic description ;
something that enables him to derive enduring pleasure
from the happy use of symbolism. And when the poet
becomes symbolic, as he frequently does, he becomes
Romantic. The fall of systematic Romanticism calls to
mind, therefore, part of a poem by Karl Forster (1784-
1841), which runs as follows :
S33a§ t)ergangen, le^rt ni(f)t tuieber;
9lber ging e§ Ieu(i)tenb nieber,
2eud^tet'§ lange nod^ ^uriicf !
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Meanwhile, those books that were advocates for the Modems,
chose out one from among them to make a progress through the
whole Library, examine the number and strength of their party,
and concert their affairs. This messenger performed all things very
industriously, and brought back with him a list of their forces.
Jonathan Swift, **The Battle of the Books"
^er Bitd^er finb ju mel, urn nod^ fo mel 3u gelten ;
5)enn roo^lfcil ift btc SReng', unb teucr nur roag fcltcn.
aWit i^ncn ift*8, rote tnit ben HHcnfd^en felbft get^an ;
Xen, bcr tnit oielen lebt, gc^n tDcnig nft^er an.
Tlan fie^t fie an, aUein/ roer lann fie aUe nennen,
@r!ennen il^ren 3GBett, rote fie ooriiber rennen ?
3ci^ leb* in fleiner ©tabt, fie ift mir faft ju grofe ;
Sin feine 9iaci^barn liebt man auf bent 2)orfe blofe.
Xovt ^at man feine ^al^(, man braud^t bie ganje 3cil^I ;
§ier ftellt jumal bie Dual fid^ ein mit S^^I unb SBal^l.
3ci^ abet ungequdlt l^ab' eincn greunb geroft^lt^
2)er mir bie ^ild^er n)dl^(t, bag mid^ bie 3^^! nid^t qucilt.
Friedrich RUckert, "Die Weisheit des Brahmanen"
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PART ONE
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SECTION I
THE WRITERS OF BEST SELLERS
There are 1345 pages in the fourth and fifth volumes
of Goedeke's ** Grundriss." Of these, 251 pages are
devoted to Goethe, 223 to Schiller, 46 to the ©dttinger
2)id^terbunb, 25 to Herder, 22 to Wieland, 18 to Klop-
stock, 5 to Jean Paul, and 3 to Holderlin. The remaining
752 pages are devoted to the writers of " best sellers," to
men and women who wrote popular works that were read
by many people. In view of these figures, it would be a
grave misapprehension to believe that German Roman-
ticism, even from 1790 to 18 15, stood alone, or was with-
out competition, or was decidedly predominant. Indeed,
had there been no Romanticism whatsoever, there would
be a weak link but no open break in the chain of German
literature.
The century from 1766 to 1866 was an intensely
"literaiy" one. And in any such age there are always
three classes of writers : the evanescent who write for the
masses, the idealists who write for idealists, and the immor-
tals who write for all time. As is the case with other trini-
ties, the three sides of the literary trinity gradually merge
one into the other, so that a knowledge of any one side is
indispensable in the study of the other two. To study
Romanticism without paying any attention to the two con-
temporaneous undercurrents — rationalistic sentimentalism
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OUTLINE OF GERMAN ROMANTICISM
and Classicism — would be like studying the Thirty Years'
War and leaving Catholicism and Skepticism out of
consideration.
The maturescent Classicists soon grew up and wrote
some things for all time. But they did not have a clear
and undisputed field. Even Goethe came unto his own
slowly. In his " Romantische Schule" Heine says, for
example, of Lafontaine : 2)er „@6^" toax ein bramatifierter
SRitterroman, unb biefe ©attung liebte man bamafe. . . .
2)ie SRomane t)on 9luguft Safontaine tuurben jebod^ ebenfo
gem getefen, unb ba biefer unauft)6rti(^ fi^rieb, fo ttjar cr
berut)mter ate SSSoIfgang ©oetl^e. When the Empress Cath-
erine, the illustrious patroness of the French Rationalists,
received a copy of Nicolai's ** Nothanker,*' she at once
sent the author a gold medal in recognition of his merit
and accompanied it with a fervent petition to send her any-
thing and everything he might from then on write. Hettner
speaks of Nicolai's *' Bibliotheken " as nid^t bcbcutenb, aber
tpeit t)erbreitet.
Romanticism had to make its way therefore against
Classicism and what might be called Philistinism. Against
the former, the more level-headed of the Romanticists
cherished no great grudge. Indeed, when we consider
the works of Goethe and Schiller, and even of Lessing,
that contain Romantic devices, and when we consider the
works of the Romanticists which, according to the suffrage
of time, have become " classics," it seems that there was
something resembling a compromise. But Romanticism
never compromised with Philistinism, of which there were
many producers and very many consumers. Of the former,
eleven of the most important out of the almost interminable
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THE WRITERS OF BEST SELLERS
list follow, in chronological order. Christian August Vul-
pius's (i 762-1 827) ** Rinaldo Rinaldini, der Rauberhaupt-
mann, eine romantische Geschichte unseres Jahrhunderts "
(1798) might also be included.
The plot of just one of these works, Friedrich Rochlitz's
* * Die Landmadchen, * ' gives a fair idea of the sort of literature
people really read in the palmy days of Jena Romanticism
and Weimar Classicism :
The Reverend Lehnhold is dead and his estimable widow
conducts a charitable, cultural boarding house at her country
place in Griinfeld. There are, however, only two patrons
in residence, Jettchen, aged fourteen, the daughter of the
deceased tenant of the place, and Hanchen, aged thirteen,
the daughter of a deceased shopkeeper of a neighboring
village. Better girls never lived. They loved each other,
their adopted mother, and all that is good. Jettchen was
supported by Felix, court chamberlain, aged fifty, a bach-
elor, out of gratitude for services rendered by her faithful
father; Hanchen, by the income from her small inheritance.
Felix takes a liking to his adopted child, writes to her,
sends her books, which are given to her after her adopted
mother has inspected them, and finally even sends her
material for a new dress that will make up prettily.
Then Madame Pfeil, a widow, aged forty, appears on
the scene. She takes Jettchen in charge, — it is needless
to say that she is the friend of Felix, — teaches her the
difference between dressing and dressing up and a number
of other useful things. Then Jettchen is taken to Schloss
Grunfeld ; but she does not forget those at the boarding
house for cultural purposes. Time goes and Jettchen grows
and a wedding is inevitable. People laugh a little at the
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OUTLINE OF GERMAN ROMANTICISM
discrepancy in ages between Jettchen and Felix, but that
is a small matter. That Felix dropped dead one day just
before the wedding was, however, a large matter ! There
was some little gossip that came close to scandal ; but there
was no ground for it and it died of its own accord. Jettchen
is alone, though she now has other chances, having become
popular through the attentions of Felix, court chamberlain,
aged fifty. But Jettchen follows her better impulses, goes
back to the boarding house, only to be received with much
welcoming by the villagers and especially by Hanchen, now
married to August, who fills the double post of village
teacher and village preacher, and only to get married her-
self to another preacher. And they lived together as hap-
pily as two people can when they are bound by the ties of
love, honor and fidelity.
This work appeared in 1799, the year of the appearance
of " Lucinde," " Wallenstein " and *' Reden uber die Re-
ligion." There was this fundamental difference between
that work and these : it was read by more people. Rochlitz
wrote much of this kind. Lafontaine filled one hundred
and fifty volumes of the same sort. Romanticism had to
make its way against Philistinism and Classicism.
BIBLIOGRAPHY
C. F. Nicolai (1733-1811)
grcubcn unb Sciben beg jungcn SBertl^erg, prose parody, 68 pp.
S)aS Seben unb bie aWcinungcn beg ^crrn 3Kagtfter ©cbalbug 3lotf^^
anfer, satirical novel, 778 pp.
J. J. Engel (1741-1802)
§ctr Sorettj ©tar!, novel, 399 (small) pp. Appeared first serially in
Schiller's " Die Horen." (2)er le^tc Qtojc ®rfolg ber altcn Slufflfis
runggliteratur.)
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THE WRITERS OF BEST SELLERS
J. H.Voss (1751-1826)
Suifc, idyl in verse, 217 (small) pp.
(Scbid^tc, 362 pp.
A. H. J. Lafontaine (1758-1831)
2)ie SBerirrungcn beg tncnfd^licj^en ^crsett^, 'novel, 391 pp.
5latur unb Sicbe, novel, 304 pp.
A. W. Iffland (1759-1814)
2)ic Sttficr, drama, 186 (small) pp.
Xev ©pieler, drama, 160 (small) pp.
A. F. F. von Kotzebue (1761-1819)
2)ie beutfd^en ^Icinftabter, comedy, 95 pp.
3Kenfci^cn]^a6 unb 9icue, drama, 105 pp.
2)ie 3«btancr in ©nglanb, comedy, 75 pp.
2)er Sle^bocf, comedy, 88 pp.
2)cr l^^perboraifd^c ®fel, 35 pp. (A clever attack on Romanticism)
K. Pichler (1769-1843)
©tille Siebe, short story, 35 pp.
Xex fd^roarje gri^, short story, 56 pp.
2)cr S3abcaufentl^a(t, short story, 58 pp.
J. F. Rochlitz (1769-1842)
2)tc Sanbmdbd^cn, short story, 38 pp.
K. G. S. Heun (H. Clauren) (i 771-1854)
®rfte unb Ic^tc Sicbc, short story, 35 pp.
SD'hinter ift bie ^auptfad^e, short story, 44 pp.
Untcrirbifd^e Siebc, short story, 86 pp.
2)cr SBurftball, short story, 10 pp.
3Wimi(t, short story, 90 pp. (2)er ©d^Iagcr beg Sal^reS 1816)
K. A. F. von Witzleben (A. von Tromlitz) (i 773-1839)
Slomantifd^c ©cmalbe aug bcm 2then Sllbred^t beg ^riegerg, aWarfs
grafen t)on S3ranbenburg, novel, 322 pp.
grans ^^^ ©itfingen unb feinc 3citgenoflen, novel, 366 pp.
E. B. S. Raupach (1784-1852)
2)er SRibelungensgort, drama, 184 pp.
2)te Xod^ter bcr Suft, mythical tragedy, 176 pp. (After Calderon)
^aifer griebrid^ II., historical drama in 4 parts, part one, 176 pp.
(From the Hohenstaufen-Gycle)
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SECTION II
STORM AND STRESS
So eminent an authority as Wilhelm Scherer once re-
ferred to the entire period in German literature from 1770
to 1815 as an unbroken, unified whole ; and other literary
historians of smaller calibre were formerly accustomed to
look upon Romanticism as nothing more or less than a
reenforced echo of Storm and Stress. These historians
discussed the literary revolution, folk-songs and chap-books,
old German art, fantastic gruesomeness, pantheism, aes-
thetics without rules, individuality, personality, geniality,
politics and civics based on self-preservation, as parts of
the scheme of the writers of Storm and Stress, and then
fitted these same rubrics to the Romanticists. They dis-
cussed Herder and found it impossible to locate him in
any one camp ; he seemed a combination of psychology,
philology, philosophy, theology, anthropology. They ana-
lyzed the Storm and Stress elements in the writings of
Fr. H. Jacobi and concluded by saying that the man is a
Romanticist. They found Romanticism in Justus Moser
and Storm and Stress in Schleiermacher. They detected
Storm and Stress in Brentano and Romanticism in the
Stolbergs. The study of literary distinctions had not yet
been sufficiently developed.
But all this has changed. Whether we like literary labels
or not, they are here to stay, for they are convenient.
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STORM AND STRESS
As new light is thrown on German literature, the lines of
demarcation are being more tensely drawn. Various dates
are being set up as marking the close of one tendency and
the beginning of another. Various dates have been sug-
gested as most appropriately marking off the beginning
and close of this particular movement. Some historians
like even numbers and set up 1770 and 1785 ; but these
dates have very little to commend them. Eduard Engel
rather happily marks off 1 77 1 {" Gotz ") and 1 783 {'' Kabale
und Liebe"). For the purpose of this outline, 1767, the
year of Herder's ** Fragmente," and 1787, the year of
Schiller's " Don Carlos," most accurately demarcate the
beginning and end of the movement.
That Storm and Stress gradually merged into Romanti-
cism is obvious. And O. F. Walzel in his " Deutsche
Romantik " (pages 3-10) most concisely points out that
which differences the one movement from the other. The
writers of both were enthusiastic, impetuous, ingenious and
so on, but the Storm and Stress writer went just so far in
the analysis of his feelings, and then stopped stock-still,
afraid to go any farther, weak metaphysician that he was.
He was a man of reason after all. The Romanticist ana-
lyzed his feelings down to the minutest detail and still had
something more to say, something more to reveal, some
mystery to clear up, good metaphysician that he was. He
was a man of intuition all in all.
The movement was a dramatic one almost entirely ;
dramas were written in abundance, lyrics and epics almost
wholly neglected. The writers were young, some of them
under twenty, others but little over twenty, and Herder,
the oldest, was under thirty when the movement had well
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OUTLINE OF GERMAN ROMANTICISM
started. The influence of Rousseau's "I^mile" and **H6-
lolfse" can hardly be overestimated, from the standpoint of
content, while the conception of Drigindgenie is to be traced
to Edward Young's ( 1683- 1765) works, "Original Com-
position/' and so on, and Shakespeare was set up as the
model for many scenes and changes of scenes. Regicide,
fratricide, infanticide, insanity, opposition to pedantic learn-
ing and training — these are a few of the favorite themes.
The language became contracted, the hero had time to say
only 93tn^^ for S^ bin e^ ; strong figures were used, Gotz
says he feels as though he had the sun in his hand and
could play ball with it ; certain words are emphasized by rep-
etition : ©enie, S!erl, S^raft, Ttaxt, frf)meiJ3en, freffen, fturjen,
and so on. It was a youthful movement that could not last
long; Goethe and Klinger were the first to outgrow it.
Aside from the men that follow, there were also such little
people as L. P. Hahn, Sprickmann, Babo, and Gemmingen ;
and there were some women, such as Charlotte von Kalb
and Karoline von Lengefeld-Beulwitz-Wolzogen. The
movement took its name from Klinger's drama of like
name (1776), though this drama was first, and more hap-
pily, called '' Der Wirrwarr," Klinger changing it to
** Sturm und Drang," at the suggestion of Christoph
Kaufmann, who took the idea from Lavater. The ex-
pression ©turm unb ©rang did not, however, become cur-
rent until 1828, when Tieck made it so by discussion
connected with his edition of Lenz's works.
The plot of Klinger 's ''Sturm und Drang" gives a fair
idea of the sort of literature that was being written at that
time. The scene is laid in America, 1776, the year of our
immortal Fourth of July. There are twelve characters, three
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STORM AND STRESS
of whom are significantly named Wild, La Feu and Bushy.
The latter name and Berkley are taken from Shakespeare's
" Richard II." There are five acts and thirty-seven scenes.
There is only the slightest thread of coherency in the story,
which tells of the sapid events in the lives of two young
men on a rampage in this country. The language is bom-
bastic beyond description. Wild says, for example, that he
would like to stretch himself across a ketde-drum in order
to become expanded, or he would like to live in the barrel
of a shot-gun until some one fired him off in the air I
Lessing said that it was impossible for him to read the
piece through, a task that has been performed by very
few people.
The Bushys and the Berkleys hate each other immensely.
Wild, really the hero, turns out to be Lord Bushy*s son
and falls in love, of course, with Karoline Berkley. Cap-
tain Boyer turns out to be the son of Lord Berkley. Wild
was making considerable headway with the Berkleys until
Boyer shows up, having in the meantime landed the other
Bushys on a desert island in the wildest part of the Father
of Waters. Wild and Boyer will fight a deadly duel, but
war breaks out, family dissensions are forgotten and all
fight for the common cause. After the war the intended
duel between Wild and Boyer is not necessary, for had
not Mohr, Boyer's boy, rescued the Bushys and hidden
them in the hold of the ship.? There follow a family recon-
ciliation, a double wedding and fireworks, all of which is
tame in comparison with the individual episodes.
This is the sort of works that were being written in
Germany in i ^^6, In the same year Lenz's " Die Soldaten,*'
Klinger's '* Die Zwillinge," Leisewitz's "Julius von Tarent,"
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OUTLINE OF GERMAN ROMANTICISM
Wagner's " Die Kindermorderin," and Maler M tiller's
*' Fausts Leben '* appeared. It seems like an omen that
E. T. A. Hoffmann was bom and that Adam Smith
finished his " Wealth of Nations ** in the same year.
BIBLIOGRAPHY
©turmcr unb 2)r(in0er. Edited by A. Sauer (Deutsche National-
Litteratur, Volumes 79,80,81), Stuttgart, no year. Contains works by
Klinger, Leisewitz, Maler Miiller, Schubart, Wagner and Lenz.
©turm unb 2)ranQ. 2)ic^tungcn auS ber ©cniejcit. Edited by Karl
Freye, Berlin (Bong), no year. There are two volumes, containing works
by Gerstenberg, Leisewitz, Lenz, Klinger, Wagner and Maler Miiller.
There is a general introduction in Volume i, pages i to xc, and sep-
arate introductions to the different writers. Freye's edition is to be
preferred.
READING LIST
J. G. Herder (1744-1803)
^7^7- %t(k%mzxiiz u5cr bie neucre beutfc^e iiiteratur, 98 pp. (I)
1769. ^ritifc^c SBalbcr ober SSctrac^tungen, bie SBiffcnfc^aft unb
^unft beS ©c^bnen betreffcnb, 171 pp. (I)
1770. 2l5l^anblung iibcr ben Urfprung ber ©prac^e, 222 (small) pp.
1774. 2luc^ einc ^l^ilofopl^ie ber ©efc^ic^te, 155 (small) pp.
1778. aSolfSliebcr, 506 pp.
J. W. von Goethe (1749-1832)
1773. ®o^ t)on SSerlic^ingen, tragedy in 5 acts, 132 pp.
1774. ^ie Seiben bcS jungen SBertl^erS, novel, 108 pp.
1790. gauft: ®in fragment, tragedy, 60 pp.
Poems: SBiUfommcn unb 2l5fc^ieb; ^rometl^euS ; ajJal^ometS
©efang ; SBanbrerS SRac^tlieb.
J. C. F. von Schiller (17 59-1805)
1 78 1. 2)ie S^ltiuber, tragedy in 5 acts, 120 pp.
1783. 2)ie SSerfc^robrung bcS gieSfo au ®enua, tragedy in 5 acts,
108 pp.
1784. ^abale unb Siebe, tragedy in 5 acts, 96 pp.
Poems : 9louf[eau ; 2)er ©roberer.
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STORM AND STRESS
J. G. Hamann (i 730-1 788)
1759. ©ofratifc^c 2)cnfn)urbigfeitcn, pseudophilosophic discussions,
348 pp.
1788. ©ibgllinifc^e flatter, a collection of 454 sententious para-
graphs published under this title by Friedrich Cramer in
18 19. The same volume contains a life of Hamann and his
relations to Herder and Goethe.
J. K. Lavater (1741-1801)
1778. $l^9fiognomifc^e gragmentc, 696 pp.
1787. Aphorisms on Man, 112 pp.
F. H. Jacobi (1743-1819)
1775. ®buarb SlUroiUS Srieffammlung, epistolary, philosophic novel,
404 pp.
1777. SBolbemar, novel, 482 pp.
H. W. von Gerstenberg (i 737-1823)
1768. UgoUno, tragedy in 5 acts, 63 pp.
^et fbrperlic^e ©d^tnerj ift unftreitig untcr alien Seibens
fc^aften am fc^roerften ju bei^anbeln, unb (Sic i^aben bie
jc^rccfUc^e 2lrt bcSfelben mit fo grower SBal^rl^eit unb mit fo
mannigfaltiger SBal^r^cit bei^anbclt, ba^ mcine ^liii^rung
mel^r alS cinmal burd^ baS ®rftaunen iiber bie 5l'unft unter*
broc^cn roorben. — Lessing.
J. M. R. Lenz (1751-1792)
1774. 2)er ^ofmeifter, comedy (Lenz had original ideas as to the
difference between comedy and tragedy) in 5 acts, 81 pp.
1775. ^anbamonium ©ermanifum, satirical sketch in 2 acts, 20 pp.
(Among the "characters" of this play are Lenz, Goethe,
Hagedorn, Lafontaine, Moli^re, Rabener, Klotz, Rabelais,
Weisse, Wieland, Klopstock, Herder, Lessing and Shake-
speare.)
1776. ^ie ©olbatcn, comedy in 5 acts, 48 pp.
F. M. von Klinger (1752-1831)
1776. ©turm unb 2)rang, drama in $ acts, 59 pp. (The play which,
at the suggestion of Tieck, gave the name to the movement.
It was originally called " Der Wirrwarr." Lessing said he
could not read it through.)
1776. ^ie groiUinge, tragedy in 5 acts, 50 pp.
J. A. Leisewitz (1752-1806)
1776. SuliuS won Parent, tragedy in 5 acts, 55 pp.
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OUTLINE OF GERMAN ROMANTICISM
H. L. Wagner (i 747-1 779)
1776. 2)ic ItHnbermbrbettn, tragedy in 6 acts, 72 pp.
F. Miiller (Maler MuUer) (1749-1825)
1778. gauftd Sebcn bramatifiert, 74 pp- (Includes an introductory
dedication to Otto von Gemmingen.)
1 78 1. ®olo unb ®eno»cfa, drama in 5 acts, 159 pp.
J. J. W. Heinse (1746-1803)
1787. SCrbingl^eao, novel, 500 pp.
C. Stolberg (i 748-1821)
1779. ®cbicl^te bcr S3riibcr, 318 pp.
F. L. Stolberg (17 50-181 9)
1779. ®ebic^te ber S3rUbcr, 318 pp. (Same as above.)
C. F. D. Schubart (i 739-1 791)
1785. ©ebid^te. A good selection is found in Kurschner*s D. N. L.,
Volume 81, pages 310 to 434. One of his best known poems
is " Die Furstengruft."
1 787-1 791. SluSaiige unb ©tcUcn aug ber ^S5atcr(anbS=©l^rontf^,
352 pp. (Articles on a great variety of topics; short,
interesting, valuable.)
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SECTION III
THE CLASSICISTS OF WEIMAR
Jena and Weimar lie very close together. Romanticism
reached its zenith in the former, Classicism in the latter.
If literature is an artistic visualization and faithful reflection
of life, how could there be any marked difference between
the visualizations and reflections of contemporaneous poets
in two towns only fifteen miles apart ? And yet there was.
It is the old question of taste, about which there is no dis-
puting. And regional proximity seems to have but little
bearing on similarity of spiritual predilection : two brothers
grow up on the same homestead and in the same family,
the one becomes a broker, the other a bishop. Try as we
may, it is difficult to find many points in common between
the creations of Fichte, the Schlegels, Tieck and Novalis
of Jena, and those of Herder, Wieland, Goethe and Schiller
of Weimar. These immortals knew each other, wrote to
each other, and in some instances admired each other;
but rare are the cases where the two camps exchanged
tactics.
Wieland and Herder were, to a certain degree, the fore-
runners of Romanticism. Wieland took the content of
" Oberon," in part, from an Old French novel, " Huon
de Bordeaux," the verse form, ottava rima, from Ariosto,
the general character of the work from Shakespeare's
" Midsummer Night's Dream," all of which sounds
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OUTLINE OF GERMAN ROMANTICISM
romantic. Yet the work is Wieland's very own ; a discussion
of it belongs only to a genetic treatment of Romanticism.
The relation of Herder to Romanticism is a long story,
the narration of which is interesting and the conclusion
of which is instructive — on general principles. The only
trouble is, Herder's story throws only a sort of head-light
on the Romantic promontory in the distance ; Romanticism
proper must be studied at closer range. Schiller, after he
grew up, became the Classic opponent of the movement.
We know how, on May 31, 1797, he *' discharged *'
Friedrich Schlegel for good and all, and Friedrich was
Wilhelm's only brother. And how could we expect Fried-
rich Schlegel and Friedrich Schiller to become and remain
loyal comrades in letters when Schlegel was preaching
arbitrariness and Schiller law. And then there is Goethe.
A broader-minded man never lived in Germany. He stood,
not by choice but by reason of his unapproachable genius,
on lofty and yet secure heights and looked down with
Olympian calm and classical serenity upon the battles
being waged below. The sight inspired him, now one
way, now another; but it never blinded him.
Goethe's attitude toward Romanticism was different at
different times. He began as its cautious and tentative
friend ; he closed as its impatient and skeptical opponent.
About the time he began his friendship with Schiller,
1 794- 1 79 5, he and the Schlegels agreed on the superi-
ority of all things Grecian, while they developed the
Romantic theory from his '*Wilhelm Meister." Novalis
looked upon him as the vicegerent of the poetic spirit
on earth, and Caroline, the intellectual Egeria of the Jena
circle, proclaimed his inestimable services to an eager
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THE CLASSICISTS OF WEIMAR
public. He had Friedrich Schlegers **Alarcos" and
Wilhelm's '* Ion '* performed at Weimar, partly because
they attacked Kotzebue and the other Philistines on whom
his pen, too, dripped vitriol. He admired Tieck*s *' Geno-
veva" and saw the reasonableness of Schelling's panthe-
istic conception of nature. He praised *' Des Knaben
Wunderhorn" and had two of Werner's dramas — Werner
in turn familiarized him with the sonnet — performed at
Weimar, while his relation to Bettina was, so far as she
was concerned, intimate indeed.
But Goethe's passing relations to the individual mem-
bers of the movement is one thing ; his adoption of their
beliefs and practices is quite another. Their impassioned
subjectivity, their whimsical formlessness, their advocacy
of marriage d quatrey and their pathological effusions, — on
these things Goethe could only turn a deaf, if not defiant,
ear. Nor could he accept their theory of Old German art,
their neo-Catholic sentimentality, the later mysticism of
his former friend Schelling to say nothing of that of
Gorres, their idolization of laziness, and their reactionary
tendencies along political lines as they had become em-
bodied in the works of Novalis and Gentz. In short,
Goethe could not side with the Romanticists, young or
old, in matters of basic importance. Visionaries that they
predominantly were, they looked backward ; realist that he
preeminently was, he looked forward.
Those of his works that show most clearly that he lived
in an age of Romanticism are listed. If we speak of the
*'Ronlantic School" and this only, the list is too long;
if we speak of the Romantic movement, and this outline
concerns the movement, the list cannot be made shorter.
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OUTLINE OF GERMAN ROMANTICISM
' Schiller*s connection with the Romanticists is a long,
negative story ; they disliked him personally and profes-
sionally. There were, to be sure, at first, about 179 5, some
signs of friendship based on common agreement ; but they
soon disappeared and did not reappear until about a gen-
eration later. He and they^could not agree on any subject.
Wilhelm Schlegel wrote an excellent parody on his " Wiirde
der Frauen *' and Novalis looked upon the illogical, fan-
tastic fairy tale as the only true poetry, according to which
Schiller would be no poet at all. Schleiermacher, who
certainly could have cherished no personal enmity against
Schiller, praised Friedrich Schlegel's "Alarcos" and con-
demned Schiller's " Braut von Messina" in the same breath.
In the famous 11 6th fragment, Friedrich Schlegel gave
his famous definition of Romantic poetry, a definition to
which Schiller could not in any way subscribe. Wilhelm
Schlegel delivered (1808) his suggestive lectures on dra-
matic literature and did not draw on Schiller for illustra-
tions. Solger formulated the Romantic doctrine of aesthetics
and deviated as far as possible from Schiller's treatises on
the same subject. Jean Paul did not mention Schiller in
his "Vorschule der Aesthetik," Schelling meandered
through the whole realm of the tragedy and remained
poles removed from Schiller, and lesser lights, brought
up to admire Schiller's early plays, turned away from him
and to his opponents. From the standpoint of theory,
Schiller came off ill with the Berlin-Jena group of Roman-
ticists. And after the War of Liberation, the Heidelberg
group and its numerous clientele did some creative work
that tended to draw attention still more away from the
author of **Tell" and to those that were producing dramas
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THE CLASSICISTS OF WEIMAR
and epics that were not quite so patriarchal. The roman-
tically inclined read ** Das Lied von der Glocke *' and
laughed at its Philistinism while the Philistines read
Clauren*s "Mimili," the great hit of the year 1816, and
were pleased.
Nor did Schiller's works sell well ; nor were they
played frequently. Cotta brought out the first complete
edition in 18 12-18 15 in twelve volumes. It was five
years before a second edition was necessary. The only
way in which this can be viewed as a reasonable demand
for the works of Germany's greatest dramatist is to re-
member that Germany was then the land of many writers
and many books. And on the stage Schiller came unto
his own slowly. From 1834 to 1837, Immermann gave
him a fair hearing at Dusseldorf ; elsewhere he was
neglected. And he had been neglected, strange to say,
partly because of the popularity of dramas that were so
cheap as to be beneath his consideration and yet so flat
as to make no appeal to an orthodox Romanticist. " Der
Hund des Aubry *' received a hearing ; '* Die Braut von
Messina*' was unwelcomed. Taste, like genius, remains
unexplained.
In short, it is impossible to find conspicuous similarity
of purpose or harmony of ideals between Schiller and the
Romanticists. Franz Schubert may have set forty-six of
his poems to music, according to Brandstaeter, and Hegel
may have agreed, in the main, with his philosophy, ac-
cording to Albert Ludwig. But on the whole there was a
regularity and reality about Schiller's theory and practice
that could not attract those otherwise constituted. There
are scattered touches of Romanticism all through his works,
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OUTLINE OF GERMAN' ROMANTICISM
just as there are in the works of any great poet ; but only
a few of his creations are consistently Romantic, and these
are here listed.
BIBLIOGRAPHY
^ic romantifcl^e ©c^ule in il^rem inncrcn Sufammcnl^anQC mit ©oetl^c
unb ©driller. By Hermann Hettner, Braunschweig, 1850. 207 pp.
©oct^eS SBil^elm 2Wciftcr unb bie aeft^ctifc^e 2)octrin bet (ilteten ffio-
mantif. By Heinrich Prodnigg, no year, no place. 31 pp.
©oet^e unb bie SRomantif. By Stephan Waetzoldt, Berlin, 1888. 56
pages, including the lecture on " Die Jugendsprache Goethes."
2)er ®influ6 SBill^clm 2Weiftcr§ auf ben Sloman ber Slomantifer. By
J. O. E. Donner, Berlin, 1893. 211 pp.
2)ie dltere ^lomantif unb bie ^unft beg jungen ®oetl^e. By Hans Rohl,
Berlin, 1909. 164 pp.
2)a§ romantifd^e 2)rama. By Karl Georg Wendriner, Berlin, 1909,
168 pp. (A study of the influence of " Wilhelm Meister " on the drama
of the Romanticists.)
®oetl^e. ©ein Seben unb f eine SBerfe. By Albert Bielschowsky, Mun-
chen, 1904. Volume 2, pages 469 to 475, and chapter 4, pages 77 to loi.
Bielschowsky died before the work was finished. Theobald Ziegler
helped to finish it. He interpolated the section on " Goethes Verhalt-
nis zur Romantik," the first reference, and the fourth chapter, dealing
with Goethe's relation to Fichte, Schelling and Hegel.
©oet^e unb bie ^lomanti!. By Carl SchUddekopf and Oskar Walzel,
Weimar, 1898. Volumes 13 and 14 of the publications of the " Goethe-
Gesellschaft." Each volume contains an elaborate introduction (to the
letters that follow) on the works of Goethe that show influence of, or
relation to, Romanticism.
Sliitejeit bet S^lomantif. By Ricarda Huch. Pages 198 to 219 on
" Goethe und Schiller."
©d^iUer unb bie Sflomantif. By Oskar Franz Walzel, Berlin, 1893.
In the *\Sonntagsbeilage der Vossischen Zeitung," numbers 41 and 42.
©critter unb bie Sriiber ©d^IegeL By Carl Alt, Weimar, 1904. 130 pp.
^laffijigmug unb Slomantif in ©d^roaben ju 2lnfang unfereS S^l^t*
l^unbertS. By Hermann Fischer, Tubingen, 1889. 22 (quarto) pp.
©driller unb bie beutfd^e 9iad^n)elt. By Albert Ludwig, Berlin, 1909.
679 pp. Read pages 52 to 202. This is the best work on the subject ; so
far as Schiller's relations to Romanticism are concerned, it is definitive.
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THE CLASSICISTS OF WEIMAR
Goethe :
1794.
1796.
1799.
1800.
1802.
1807.
1808.
1809.
1811.
1814.
1815.
1819.
1827.
i8i8.
1832.
Schiller:
1800.
1801.
1803.
1804.
READING LIST
2)aS aWdrd^en, 39 pp.
SBill^clm aWciftcrS iJel^rjal^rc, novel, 726 pp.
2lc^iUciS, epic poem, 20 pp.
^aldopl^ron unb Sflcoterpc, dramatic dialogue, 10 pp.
^ic naturlid^e ^oc^ter, tragedy in 5 acts, 128 pp.
^ie neue 3Kclufinc, fairy tale, 28 pp. Conceived much earlier,
committed to paper in 1807, published in Cotta's " Taschen-
buch fiir Damen" in 18 17 and 18 19, later incorporated in
** Wilhelm Meisters Wanderjahre."
^anbora, festival play, fragment, 37 pp.
SBai^berroanbtfc^aftcn, novel, 302 pp.
2)er neue $ariS, em ^nabettrndrd^cn, 1 5 pp.
SBaS mix bringen, festival play, 62 pp.
2)cg ®pimcnibeS ©rroad^en, festival play, in 2 acts, 38 pp.
SBeftsDeftlic^er 2)it)an, poems, 144 pp.
9iot)eUc, 27 pp.
aWaSfenjiige, dramatic allegories, 70 pp. (Begun in 1781.)
Poems : ^er ®ott unb bie SSajabere ; 2)ie Sraut oon 5^orint^ ;
©chafers ^lagelicb ; ®ro^ ift bie 2)iana bet ©prefer ; 2Celt=
feele ; SKufen unb ©rajien in bet 2Warf ; 3^^^^^ Xenien (67
PP-) ; 3»ttJeftiDen (20 pp.) ; ©afontala; §an§ ©ad^fen^ poetic
fd^e ©enbung ; S^lac^tgebanfen ; 2)ag ©onett.
gauft, second part, tragedy in 5 acts, 286 pp.
SWaria ©tuart, tragedy in 5 acts, 195 pp. Especially the char-
acter of Mortimer, lines 409 to 450.
^ie 3wngftau oon Orleans, tragedy in 5 acts and prologue,
130 pp.
2)ie S3raut oon 2Wefftna, tragedy in 4 acts with chorus, 100 pp.
2)ie ^ulbigung bet ^iinfte, festival play, 10 pp.
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SECTION IV
THE TRANSITIONALS
Detailed study has corroborated tradition in referring
to Friedrich Richter and Friedrich Holderlin as the
transitional poets between Classicism and Romanticism.
They were neither wholly classic nor wholly romantic.
Indeed no historian of German literature has yet had
sufficient originality to align them with any one move-
ment. And they themselves were almost totally dissimilar.
Richter, prolific and versatile and popular, described in
queer prose the small but interesting incidents in the
lives of the doctors and farmers and teachers and
preachers of his own time and country ; he was plebeian.
Holderlin, a man without a mind at thirty-six, a devotee
of Schiller's idealism, with a limited but weighty message,
portrayed in classic verse and romantic prose the lofty
deeds of great Greek heroes of long ago. A forerunner
of Nietzsche in his despair over the Germany that pro-
duced him, he sang of Hyperion and Empedocles and
the ether-dwelling gods ; he was patrician. It would
seem indeed that the one was the antipodal shadow of
the other. And yet each resembled in an anticipatory
way the Romanticism that was to come, in that both
longed for an unattainable ideal, both projected their own
personalities on the pages before them, both were form-
less and diffuse.
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THE TRANSITIONALS
It was from Jean Paul's novels that Friedrich Schlegel,
in his "Gesprach iiber die Poesie," developed his definition
of the novel as a work of sentimental content in fantastic
form. On the other hand, Tieck's ** Lovell '* and Jacobi's
'* AUwiir* indubitably stood sponsor for '* Titan." In the dis-
cussion of Romanticism in his "Vorschule der Aesthetik"
Jean Paul eloquently betrays his interest in and sympathy
with Romanticism, while in " Levana" there are numerous
instances of parallelism with the works of Fichte and Schleier-
macher. From the standpoint of religion, pedagogy, individ-
ualism, and the nature of the poet, Jean Paul was not only
at one with Romanticism, he was, in a sense, its lawgiver.
Holderlin's theoretical, professional relation to Roman-
ticism was not so integral. Though he died at the age of
seventy-three, he enjoyed but fifteen years of interrupted
poetic productivity. Totally devoid of humor, unable to
understand the words of men while thoroughly appreciative
of the stillness of the ether, unable, and unwilling had he
been able, to follow the suggestion of Goethe, who advised
him to write short poems based on subjects of tangible
human interest, Holderlin wrote, however, such works,
and lived such a life, as the layman believes is the case
with all romanticists. His translation of Sophocles was
begun when the clouds were already gathering before his
mind ; his one novel, ** Hyperion," consists of a series of
melodious dirges of two idealistic friends on the degenera-
tion of modern Greece ; his one drama, " Empedokles," is
a haloed apotheosis of nature ; his lyrics, among the best in
German literature, are ultra-romantic. In so far as Ger-
man Romanticism was retrogressive longing, Friedrich
Holderlin was one of its first and staunchest advocates.
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OUTLINE OF GERMAN ROMANTICISM
JOHANN PAUL FRIEDRICH RICHTER (Jean Paul)
Born March 21, 1763, at Wunsiedel, between Bayreuth and
Hof. Father a teacher and preacher. Grew up in extremely
narrow and uninstructive surroundings. Attended the public
schools at Joditz and Schwarzenbach, the gymnasium at Hof
(1779-81), the University of Leipzig (May 1 781 -Nov. 1784).
Tutor at Hof and Schwarzenbach (1784-96). Visited Weimar
(1796), lived there from 1798 to 1800, then at Meiningen and
Coburg. Settled at Bayreuth in 1804, where he lived the rest
of his days. After having been worshipped by many women, he
married (May 27, 1801) a plain girl, Caroline Maier. Prince
Primas Karl von Dalberg gave him (1808) an annual pension
of 1000 guldens ; this was withdrawn in 18 13 and then paid by
the king of Bavaria. Heidelberg conferred on him the honor-
ary doctor's degree in 1 8 1 7. He travelled extensively from 1 8 1 1
to 182 1 and was everywhere highly honored. His son died,
September 25, 182 1, at Heidelberg, a blow from which he
never entirely recovered. From 182 1 on he suffered from
dropsy and almost total blindness. Jean Paul — he possibly
fashioned his name after Jean Jacques Rousseau — is the unique
figure in German literature. A German at heart, he imitated
the French and English writers of the i8th century; he wrote
books from books, having kept a series of 3cttelfaften in which
he compiled excerpts from which to draw later. A Romanticist
in that the formless, picturesque, diffusive, personal, subjectivistic,
appealed to him. While Holderlin poetized the great, he poetized
the small. Great difference of contemporary opinion as to his
merits ; Herder praised him, E. M. Amdt excoriated him. More
read in his day than Goethe, he is now almost totally neglected.
Wrote almost no lyrics, though there is a lyric strain in his novels,
and no dramas. The master of the odd, his books have queer
titles that have little connection with the contents, and his char-
acters have bizarre names. Looked upjon the Romanticists as
false prophets of a true doctrine. (£r iff faft gleid^jeitig mit ber
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THE TRANSITIONALS
romantifd)en (3d)ule aufgetreten, o^ne im minbeften baran ttiU
junel^men, unb ebenfomenig l^egte er fpdter bie minbefte @e=
memfd^aft mit ber ©oet^efd^en Sunftfd)ule. Of him Maeterlinck
says : " Jean Paul, the romantic and mystic Rabelais of the
Germans, the most powerful, the most slovenly, the most inex-
haustible, the most chaotic and the most gentle of literary mas-
ters." And Lowell said : " Jean Paul, the greatest of German
humorous authors, and never surpassed in comic conception or
in the pathetic quality of humor, is not to be named with his
master, Sterne, as a creative humorist." He died at Bayreuth,
November 14, 1825.
BIBLIOGRAPHY
Sean ^aulg fammtlid^e 3Berfe. Sixty volumes in 22, Berlin, 1826-28.
Sean ^aulS fammtUd^e 3Berfe. Thirty-four volumes in 17, Berlin,
1860-62.
Sean ^aulS auSgerodl^Ue 3Berfe. With an introduction by Rudolf
Steiner, Stuttgart (Cotta), 8 volumes, no year.
Sean ^aul griebrid^ 3fli(i^terg Seben nebft S^aracteriftif feiner 2Ber!e.
By Heinrich Doring, Gotha, 1826. 208 pp.
Sean ^aul. ©ein Seben unb feine SBerfe. By Paul Nerrlich, Berlin,
1889. 655 pp. The standard source of information on Jean Paul.
Sean ^aul ^Jriebrid^ SRid^ter in feinen le^ten ^agen unb im Xobe.
By R. O. Spazier, Breslau, 1826. 172 pp.
Sean ^aulS ^erfonlid^feit. geitgenoffifd^e SSerid^te. Collected and
edited by Eduard Berend, Miinchen and Leipzig, 1913. SSerenb ^at^a^
unb Siebe o^ne ©infprud^ unb 9fletufd^ierung ju 2Borte fommen laffen,
nur in ben Slnmerhingen gelegentlid^ SBinfe fiir bie SSeurteilung beg Se^
rid^terftatterg gegeben.
Sean ^aul unb feine geitgenoflen. By Paul Nerrlich, Berlin, 1876.
374 pp.
Scan ^aul unb feine Sebeutung filr bie ©egenroart. By Josef Miiller,
Miinchen, 1894. 436 pp.
Sean ^aui^ 2)id^tung im Sid^te unferer nationalen ©ntw.itfelung. By
K. C. Planck, Berlin, 1867. 185 pp.
Sean ^au(=©tubien. By Josef Miiller, Miinchen, 1900. 176 pp.
2)aS SScrl^altniS Sean ^aulS jur ^^ilofop^ie feiner 3eit. By Walther
Hoppe, Leipzig, 1901. 83 pp.
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OUTLINE OF GERMAN ROMANTICISM
3!)aS problem ber ^erfbnlic^feit bei Scan ^auU By Walter Weng-
hofer, Jena, 1907. 51 pp.
Sean ^aul alS ©ro^meifter beutfd^en §umorg. By Eduard Kauffer,
Reudnitz, 1869. 238 pp.
Sean ^aui^ giegelja^re : 2WateriaUett unb Unterfud^ungen. By Karl
Freye, Berlin, 1907. 305 pp.
Scan ^a\xH aScrl^altnig ju ben litcrarifd^cn ^artcicn fcincr gcit. By
Eduard Berend, Berlin, 1908. 67 pp.
Sean ^aillg l^ol^e 3Wcnfcl^cn. By Johannes Volkelt, Munchen, 1908.
(In " Zwischen Dichtung und Philosophie," pp. 106-161.)
©tcrne, §ippcl unb Sean ^aui : ®in SScitrag sur ©cfd^id^tc bcS l^umos
riftifd^en 3flomang in 2)eutfc^lanb. By Johann Czerny, Berlin, 1904. 86 pp.
READING LIST
1783. ©ronlanbifd^c ^rojeffc, satirical narrative, 230 pp.
1792. 2)ic unfid^tbare Sogc, prose narrative, 502 pp.
1795. ^eSperuS, prose narrative, 793 pp.
1796. Scbcn bcS Duintug gijlein, prose narrative, 265 pp.
1796. ©iebcnfdS (Flower, Fruit and Thorn Pieces), prose narrative,
577 PP-
1803. 2^itan (his chief work), prose narrative, 1287 pp.
1804. glcgclia^re (partly biographical), prose, 518 pp.
1804. S)ie ^Sorjd^ulc bcr 2lcft^ctif (critical), 359 pp.
1809. 2)r. ila^cnbergerg S3abcreifc, prose, 293 pp.
JOHANN CHRISTIAN FRIEDRICH HOLDERLIN
Bom March 20, 1770, at Lauffen on the Neckar, in Wiirttem-
berg. His father, a convent tutor, died in 1773. His mother
married again (1774) a friend of her former husband. Councilor
Gock, mayor of Niirtingen, who died in 1779. Reared under
direct guidance of mother, grandmother and their women friends.
Attended the Latin School at Niirtingen, the Parish Schools at
Denkendorf and Maulbronn (1784-88), the Protestant Seminary
at Tiibingen (1788-93), where he became intimately acquainted
with Neuffer, Magenau, Hegel and Schelling. Schiller secured
for him (Sept. 20, 1793) position as tutor to the son of Charlotte
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THE TRANSITIONALS
von Kalb, one of the two important women in the Storm and
Stress movement. Held the position until 1796. Became then
tutor in the family of J. Gontard in Frankfurt am Main (1796-
98). His fatal love affair with Gontard's wife, Susette, whom
he poetized as " Diotima," a name taken from Plato's *' Sym-
posium," obliged him to leave Gontard's house forever. The
whole affair is enshrouded in mystery. He then thought of be-
coming a preacher, or of editing a magazine, Iduna^ or of
applying for a position as dozent at Jena. Secured instead a
position as tutor at Hauptwil (1800), then at Bordeaux in Jan-
uary, 1802. Left Bordeaux (May 10, 1802), possibly because
he was called on to preach, walked across France, was robbed
on the way, entered the room of Matthisson in Stuttgart (July,
1802) a man without a mind. Susette Gontard died May 22,
1802. Holderlin partially recovered, studied Pindar and trans-
lated Sophocles' " Antigone " and " CEdipus." Suffered relapse
in 1807, and never recovered. Handsome in appearance, of
gentle, artistic temperament. Influenced in his youth by Klop-
stock's Teutonism, by Macpherson's " Ossian," Schiller's " Phi-
losophische Briefe " and " Don Carlos," Rousseau's " Contrat
social," C. F. D. Schubart's hatred of tyranny. An overweening
idealist, fond of music with some musical ability, classic in form,
romantic in. content, given to abstractions, elegiacally inclined,
resembling Keats, one of the transitional poets, he wrote some of
the most wonderful lyrics of German literature. Has never been,
and can never become, one of Germany's popular writers. ^ dlber=
lin'g ®ebi(fttc ftnb fein Seben. Gr lebte, urn §u bid^ten, unb erft
im Oebid^t murbe fein Seben i^m lebenbig. Died at Tiibingen,
June 7, 1843.
BIBLIOGRAPHY
griebnd^ §5(bcrUng fdmmtlid^e 2Bcr!c. By Christoph Theodor
Schwab, 2 volumes, Stuttgart, 1846. Volume 2 contains (pp. 263-333)
^dlberlinS Scbcn.
^olbctlinS gcfammcltc S)i(i^tungen, With a biographical introduction
by Berthold Utzmann, 2 volumes, Stuttgart (Cotta), no year.
[27]
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OUTLINE OF GERMAN ROMANTICISM
gricbrid^ ^dlberUn^ gcfammcltc SBerfe. By Wilhelm Bohm, Jena,
3 volumes, 191 1. Contains introduction, Volume i, pages i to cxix.
^blbetUnS SBerfe. One volume in 4 parts, edited with biographical
introduction and separate introductions to the different works by Marie
Joachimi-Dege, Berlin (Deutsches Verlagshaus Bong & Co.), 1913- Pos-
sibly the best place to read Holderlin. A splendid bit of printing.
2)i(i^tungen DOtt ^Jricbric^ ^dlbetUn, mit biograpl^Hc^er ©inleitung.
By K. Kostlin, Tubingen, 1884. 187 pp.
95orar5etten unb S3eitrftgc ju einer fritifd^ett Slu^gabc ^olberling. By
Robert Wirth, Plauen, 1885. 30 (quarto) pp.
S)ic Sugcnbbic^tungcn ^riebric^ §5(bctlinS. By Rudolf Grosch,
Berlin, 1899. 46 pp.
griebrid^ §5lber(in unb feinc 3Berfe. By Alexander Jung, Stuttgart,
1848. 279 pp.
S)a3 (Srlebnig unb bic 2)icl^tung. By Wilhelm Dilthey, Leipzig, 1907.
455 PP- Treats Lessing, Goethe, Novalis, Holderlin (pages 330-455).
Of very great value.
SSerfc^roartnte 2)CUtfd^C. By Moeller van den Bruck, Minden i. W.,
no year. Holderlin (pages 126-163).
2)CUtfd^e S^arafterc. By Gustav Kiihne, Leipzig, 1886. Holderlin
(pages 235-258).
©cfammeUc S^lcbcn unb Sluffd^C. By August Sauer, Wien, 1903.
400 pp. Holderlin (pages 1-25).
2)ic (gntroidtclungdgcfd^id^tc Don §olbcrlinS S^pcrion. By Franz Zin-
kernagel, Strassburg, 1907. 242 pp.
gricbrid^ §blbctlin: ©ein Sebcn unb feinc S)id^tungen. By Carl
MUller-Rastatt, Bremen, 1894. 183 pp.
3n bie SfJac^t. ®in 2)id^ter(e6cn. By Carl Miiller-Rastatt, Florenz and
Leipzig, 1898. 204 pp. (A story with Holderlin and his friends as char-
acters.)
gricbric^ §5lbcrltn unb Sol^n ^eai^ alS gcifteSDcrroanbte 2)id^ter. By
Guido Wenzel, Magdeburg, 1896. 28 (quarto) pp. An interesting
study.
©tubicn JU §5lbctltn8 (gmpcboflcS. By Wilhelm Bohm, Weimar,
1902. 45 pp.
2)ic 8anbf(^aftcn in ben SBerfcn gblberlinS unb Scan ^aulS. By
Lothar Bohme, Naumburg, 1908. 116 pp.
^dlbcrlin unb ©(^iUer. By Ernst Bauer, Leipzig, 1908. 75 pp.
©tubicn ju §dlberUng Dbenbit^tung. By Leo Francke, Breslau, 191 o.
44 PP-
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THE TRANSITION ALS
READING LIST
1799. §9perion, a novel in letter form. Five different versions are
extant; best are those of 1794 and the final one of 1797-
1799. 148 pp.
1799. ©mpcbofleg, dramatic fragment, 90 pp.
1826. S^rifd^c ©ebid^te, begun in Holderlin's youth, nothing written
after 1807. Best poems: 2)a8 SlI^ncttMlb ; 2)ct Winbc ©finger ;
Xid^ievmuif) ; S)cr gcfcffcltc ©trom; 3)cm ©onncngott; SKcin
©igent^um ; 2)er Xob fiirg 95atctlanb ; ©cfang bcS 2)cutf(^cn ;
2ln bie 2)cutf(i^en; ^^periong ©c^idEfal^licb ; Slbenbpl^antafic ;
SflildEJcl^r in bie ^eirnatl^.
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SECTION V
THE WRITERS OF THE BERLIN-JENA GROUP
To believe that German Romanticism sprang into exist-
ence, like Pallas Athene from the head of Zeus, full-grown
and with a clearly defined and feasible programme on a
certain day in 1798, would be like believing that new polit-
ical parties are the result of a moment. Neither political
nor literary phenomena happen this way. They may, to be
sure, come to a head overnight, but if they are really
momentous they have been a very long time in the making.
There has always been a romantic strain in German litera-
ture, more so, possibly, than in the other great literatures,
since that of Germany has so doggedly concerned itself
first and foremost with the individual heart, with the per-
sonal affairs of the writer, with things German rather than
foreign. All good literature must contain some romanti-
cism. Goethe's ** Iphigenie,'* though in no way a romantic
drama, contains one verse that is ultra-romantic, namely,
S)a§ Sanb ber ®ried)en mit ber ©eele fitd)enb. This verse
might almost be set up as the guiding star of the efforts of
Holderlin, the Schlegels at first, Goethe as a Romanticist,
Wilhelm Miiller and others. And if we substitute some-
thing else for ber ®rie(i)en, if we substitute, say, bc§
SBunberfct)5nen, the verse might be set up as the motto
of Romanticism in general. But between the years 1748,
the year of the appearance of the first three cantos of
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The writers of the berlin-jena group
Klopstock's ** Messias," and 1798, the year of the estab-
lishment of Das Atkendunty there appeared a long series
of spiritual phenomena in literary form the ultimate
result of which was systematic Romanticism. The move-
ment started in Berlin, then shifted to Jena, and then
oscillated between these two towns. Its shibboleth was
*' War against Enlightenment, War for Fancy." Its liter-
ary leaders were the Schlegels, Tieck, Wackenroder and
Novalis.
Short-lived indeed was this Romantic School. Its mem-
bers had too many irons in the fire ; they reacted against
too many things. To take a figure from pedagogy, they
were too appreciative of the principle of ** situation and
response,*' so that they suggested much more than they
accomplished. Some of their ideas, those pertaining to
the Church and the State, were snap judgments impossible
of realization. Others, the appropriation of foreign litera-
tures through translations, the introduction of Christian as
opposed to Classic art, were well meant, but the carrying
out of even these, especially the latter, led to a disconcert-
ing vagueness. The death of Novalis and Wackenroder
and the paucity of works that the general public would and
could read, made the idea of dismemberment seem ex-
tremely plausible. They separated and each went his own
way, but they had started a school, which, in default of a
more telling name, tradition has called the Berlin-Jena
School.
And it would be very erroneous to believe that we have
to do here with a well-organized and lasting school. The
leaders did not know exactly what they wanted, and they
hung together, at most, only from 1798 to 1804. And
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OUTLINE OF GERMAN ROMANTICISM
when, in 1804, A. W. Schlegel started on his travels with
Madame de Stael, and Tieck went to Italy, there was no
longer any such thing as a Jena School. Indeed, it is only
for the sake of convenience that Romanticism is ever
spoken of in connection with a town. And from this
standpoint, there were the following schools (the facts are
found in Kummer, page 52) : Jena : the literary leaders
and Karoline, Schleiermacher and Schelling. Berlin :
Rahel Lewin, Bettina von Arnim, Hoffmann, Hitzig,
Contessa. Dresden : Adam MuUer, Tieck, Kind, Hell,
Graf Loeben, P. O. Runge, K. D. Friedrich, Kleist. Koln :
the Boisser^es. Heidelberg : Arnim, Brentano, Gorres,
Eichendorff. Munchen: Baader, Schelling, Oken. Wien:
Friedrich Schlegel, Z. Werner. Tubingen : Uhland, Ker-
ner. The essential differences between the two main
schools are pointed out in the preface to the Heidelberg
group.
JOHANN LUDWIG TIECK
Tieck was bom at Berlin, May 31, 1773, the year in which
Goethe's ** Gotz von Berlichingen " appeared, one of the books
from which the young poet-to-be learned to read. Berlin was
then the citadel of Rationalism. His father, a rope-maker by
trade, a man of considerable experience and some travel, orderly,
systematic, practical and industrious in his work, opposed his
imaginative son in any and all schemes that seemed to him
fantastic, including the boy's wish to become an actor. As to
religion, the father was skeptical. On reading one day in Paul
Gerhard's hymn, SRun rul^en atte SBalber, the verse, ®§ fd^Idft
bie ganje SBelt, he said, " How can any one believe such stuff ?
The whole world does not sleep ; in America the sun is now shin-
ing and the people are awake." His mother, on the contrary,
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THE WRITERS OF THE BERLIN-JENA GROUP
was pious, believing, gentle and imaginative. It was by her
that Tieck's fancy was first aroused. He attended (1782-92)
the Friedrich Werdersches gymnasium in Berlin, a thoroughly
rationalistic institution then under the leadership of Friedrich
Gedicke. It was here that he formed his friendship with Wack-
enroder. He entered the University of Halle in 1792 to study
theology, but devoted the major part of his time to letters.
He then entered Gottingen, where he concerned himself pri-
marily with English literature. He studied for a short while in
1794 at Erlangen with Wackenroder, returned, however, to
Gottingen in the same year and finished, after a fashion, his
studies. He then spent three years in Berlin writing " Strauss-
fedem " for Nicolai, the most extreme of the Rationalists. He
married Amalie Alberti, the daughter of a preacher, in 1798
and moved to Jena in the fall of 1799, where he associated for
ten months with the other Romanticists and Goethe. From
1801 to 1802 he lived in Dresden and became acquainted with
Henrik Steffens in Tharandt. From 1804 to 18 19 his head-
quarters were Ziebingen, near Frankfurt an der Oder, from
which point he made journeys to Italy (1804), Baden-Baden
(18 10), Prag (18 13), England (18 17). From 18 19 to 1841 his
headquarters were Dresden, where he became court councilor
and dramaturge of the Royal Theatre. In 1840 he received a
call from Frederick William IV to come to Berlin on a pension.
He accepted and lived at Berlin, or in Potsdam, the rest of his
days. His wife died in 1837, ^^^ famous daughter, Dorothea, in
1841 ; he himself died at Berlin, April 28, 1853.
The life of Ludwig Tieck, the leader of the Berlin-Jena School
and its chief poet, falls into three rather distinct periods. From
1789 to 1797 he was, by vocation at least, a Rationalist. From
1797 to 1821 he was a Romanticist of the most genuine sort.
From 1821 to 1853 he was a Realist, not of the extreme
modem type, rather a tamed Realist, one who had passed
through one literary apprenticeship that was never wholly con-
genial to him, and another of which he had now had enough.
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OUTLINE OF GERMAN ROMANTICISM
Aside from his activities as director of the theatre at Dresden
he was only a poet, devoting his entire life to letters and pro-
ducing with uncommon rapidity. He had a great talent for
making friends, a mania for collecting books, and an insatiable
desire to read them. He was, literally speaking, a man of
dreams and visions. It is said of him that he could not appreci-
ate Correggio until he had seen in a dream the beauty of his
works, and then it was all clear. He suffered for fifty years
from gout and rheumatism and always from moods and melan-
choly. He restored to the Germans their old chap-books, made
intelligent and pioneer propaganda for Shakespeare in Germany,
gave a model translation of Cervantes, helped to purify the
German language and uplift the German stage, and established
(182 1 ), in so far as one man could establish, the modem
German 9? Odette. He wrote in all 23 dramas, 75 narrative
pieces, 16 sketches on art, 45 literary treatises, 107 dramatic
criticisms and numerous poems aside from his translations. He
was famous in his day as a public reader, editor, translator,
critic, dramaturge, adapter and mimicker. His works lack life,
since he wrote mostly for aesthetic reasons rather than from
real inspiration. Of great service to other poets, — Lenz,
Novalis and Kleist, and especially Kleist, — he received in turn
decisive influence from his friend Wackenroder. Idolized by his
contemporaries, he has been neglected, until recently, by poster-
ity. Goethe said (1824) of him : Xkd ift ein Xaltnt don l^ol^er
93ebeutung, unb e§ fann feine au^erorbentlid^e SSerbienfte
niemanb beffer erfennen aU id) fetber; attein toenn man il^n
liber i^n fetbft unb mir gleid^ftetten mitt, f ift man im Si^i^tum.
Sd) !ann biefe§ gerabe ^eraugfagen, benn tt)a§ gel^t e^ m\i) an,
id) ^ai^ mid^ nid^t gemad)t. Schiller said (1799) of him: ©ein
Slugbrud, ob er gletd^ !eine gro^e S^raft jeigt, ift fein, der^
ftanbig unb bebeutenb, aud) ^ai er nid)t§ S^ofetteg nod) Unbe*
fd^eibeneg.
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THE WRITERS OF THE BERLIN-JENA GROUP
BIBLIOGRAPHY
%\ed^ ©(^riftcn. Twenty-eight volumes, Berlin, 1828-1854.
%xed^ auSgeroa^ltc SBerfc. Edited by Heinrich Welti, Stuttgart
(Cotta), 8 volumes, 1888.
©ebid^te t)on Subroig ^^iccf. Berlin, 1841. 598 pp.
Subroig %xed. By Rudolf Kopke, Leipzig, 1855. 698 pp.
SubtDig %ied. By Hermann Freiherr von Friesen, 2 volumes, Wien,
1871.
German Romance. By Thomas Carlyle, Boston, 1841. Biographical
note and translation of " Eckbert," " Eckart," " Runenberg," " Elfen,"
»* Pokal."
%xed alS SflODcUenbid^tcr. By J. Minor, in " Akademische Blatter,"
edited by Otto Sievers, Braunschweig, 1884. Pages 1 29-161 and 193-220.
S)rei ^apitel r>om romantifd^en ©til. By Hermann Petrich, Leipzig,
1878. 152 pp.
Subroig Xied unb bic SSolf^biid^cr. By Bemhard Steiner, Berlin,
1893. 88 pp.
Subroig %xed alS 2)ramaturg. By Heinrich Bischoff, Bruxelles, 1897.
124 pp.
3ur ©ntroidelung^gefd^id^tc ber SfJoDeUcnbic^tung i^ubroig %ied^. By
T. D. Gamier, Giessen, 1899. 54 pp.
Subroig %ied^ ®enox)ex)a a(3 romantifd^e 2)i(i^tung bctrad^tet. By
Johann Ranftl, Graz, 1899. 258 pp.
iJubroig %ud^ S^ri!. By Wilhelm Miessner, Berlin, 1902. 64 pp.
Subroig ^^iecf^ Sugcnbroman SSiUiam SoueU unb ber Paysan perverti.
By Karl Hassler, Greifswald, 1902. 167 pp.
Sflomanttfd^e S^xiixt unb Satire 6ei Subroig %xed. By Hans Giinther,
Leipzig, 1907. 213 pp.
The Nature Sense in the Writings of Ludwig Tieck. By George
Henry Danton, New York, 1907. 98 pp.
S)ie Sronie in %ud^ SBiKiam 2ox)cK unb feinen SJorlaufern. By Fritz
Briiggemann, Leipzig, 1909. 479 pp.
^^ilipp Dtto S^lungc unb Subwig ^^iecf. By Siegfried Krebs, Frei-
burg i. B., 1909. S3 pp.
2ubn)ig %xed unb bag garbencmpfinben ber romantifd^en 2)id^tung.
By Walther Steinert, Dortmund, 19 10. 241 pp.
%xed unb ©olger. By Erich Schonebeck, Berlin, 19 10. 87 pp.
%xed^ ©inftu^ auf Smmermann; bef onberg auf feinc epif c^e ^robuftion.
By Oskar Wohnlich, TUbingen, 191 3. 72 pp.
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OUTLINE OF GERMAN ROMANTICISM
READING LIST
1792. 2)er Slbfd^icb, tragedy, 54 pp.
1795. S)a!3 ©(^itffal, tale (©trau^fcbcrn), 52 pp.
1795. ^^^^ ^ott S3crnc(f, tragedy, 144 pp.
1796. SBtUiam iJox)cU, novel, 692 pp.
1796. 2)cr b(onbe ©dbcrt, fairy tale, 28 pp.
1797. 2)cr gefticfeltc ^ater, fairy comedy, 122 pp.
1798- ?Jrina gcrbino, play, 381 pp.
1798. granj ©tcrnbalbS SBanbcrungcn, Old German tale, 416 pp.
1799. 2c5cn unb 2:0b bcr j^eiligcn ®cnot)ct)a, romantic tragedy, 272 pp.
1 80 1. 3)cr S^luncnbcrg, tale, 35 pp.
1802. ^aifer DctaDtattuS, romantic comedy, 421 pp.
181 1. ^^antafuS, collection of tales and plays.
1 81 6. gortuttat, fairy-tale play, 497 pp.
1 82 1. S)ic ©cmalbc, (first) novelette, 96 pp.
1826. S)cr 2lufrul^r in ben ©ewenncn, novelette, 278 pp.
1827. S)er ©elcl^rte, novelette, 50 pp.
1829. 2)t(^tcrlc5cn, (Shakespeare) novelette, 165 pp.
1833. %ot> beg S)i(i^tcrg (Camoens), novelette, 256 pp.
1836. 2)er iunge S^ifd^lermeifter, novelette, 466 pp.
1837. 2)c8 ScbcttS iibcrfluj, novelette, 68 pp.
1840. 2Balbcinfamfcit, novelette, 95 pp.
1840. 95ittona Slccorombona, novel, 288 pp.
1853. Q^ebic^te, dating back to youth. A very good collection of Tieck's
poems is found in the Cotta edition. Volume 8, pages 225-272.
His poems are, as is the case generally with the Romanticists,
scattered throughout his prose works. Some of his best known
areSlac^t; ©d^lafUeb; 3)ic3)hift!; ©loffc; 2)ic3ci(^cnim2Balbc.
WILHELM HEINRICH WACKENRODER
Bom 1773 (day not known) at Berlin. Nothing significant
known of his mother. Father was a Privy Councilor of War,
full of integrity, a lover of order, acquainted with literature,
pedantic. Studied with Tieck at the Friedrich Werdersches
gymnasium in Berlin, then studied law at Erlangen (1793) and
Gottingen (1793). Finished his course in law (1794) and became
referendary at the Chamber Court in Berlin. Duties unspeakably
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THE WRITERS OF THE BERLIN-JENA GROUP
distasteful. The altera pars of Tieck, with whom he discovered
the artistic beauties of Niimberg and whom he loved in nearly
unhealthy fashion. Emphasized the national and ecclesiastical
in painting at the same time that Goethe was emphasizing the
classic and symbolic. Did much to revive Old German art. The
representative impressionist of the old school. Fine, sensitive,
nervous, emotional, fantastic, dreamy temperament Died at
Berlin, February 13, 1798.
BIBLIOGRAPHY
Xiccf unb SBadcttrobcr. Edited by Jakob Minor, D. N. L., Volume 145,
Berlin and Stuttgart, no year. Introduction, pages i to viii.
S)ic §crscngergiejungcn cincS funftliebcnbett ^lofterbruberS. By
Heinrich Wolfflin, Hamburg and Leipzig, 1893. 13 pp.
SBadenrober unb fcin ®influ^ auf 2:iecf. By Paul Koldewey, Gottin-
gen, 1903. 212 pp.
^erscnScrgicJuttgcn cttte^ funftUcbcttben ^loftctbruberS. Edited by
Karl Detlev Jessen, Leipzig, 1904. Introduction, pages i to xxxvi.
READING LIST
1797. gcrjcn^ergic^ungen eineg funftliebenben ^loftcrbrubcrS, impres-
sionistic essays on art, 174 pp. (Tieck wrote, 35orrcbc; ©e^n*
fud^t nad^ Stalien ; SSrief beS 3Wa(erS 2lntonio ; SSricf cincS beut*
fd^cn 2»alerS in 9flom; S3ilbniffc bcr 2»aler.)
1799. ^l^antaficn ilbcr bie ^unft filr gteunbc bcr ^unft, impressionistic
essays on art, 104 pp. (According to Minor, Tieck wrote I.
I, 2, 3, 4, 6, 7, 8, 9, 10 ; II. 7, 8, 9, 10.)
FRIEDRICH LEOPOLD, FREIHERR VON HARDENBERG
(NOVALIS)
Novalis was bom at Oberwiederstedt in the county of Mans-
feld on May 2, 1772. There were eleven children in the family,
the parents were Moravians and intensely religious. His father,
a man of excellent business ability, unsympathetic with his
son's poetic inclinations, became (1787) director of the Saxon-
Electorate salt works. Weak and dreamy as a child, Novalis
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woke up at the age of nine, as the result of a severe illness,
and from then on was of a wonderfully receptive and assimilative
mind. After having received careful training from his pious
mother and his conscientious tutor, he studied at Lucklum, near
Brunswick, at the gymnasium of Eisleben, and from 1790 to
1792 at the University of Jena, where he became interested in
law and philosophy and was greatly influenced by Fichte and
Reinhold, and especially by Schiller. In 1792 he entered Leipzig
and. began his association with Fr. Schlegel. He finished his
studies in law, mathematics and chemistry at Wittenberg. On
November 17, 1794, he entered the employ of the salt company
at Tennstadt, near Griiningen, where he met (1795) Sophie von
Kiihn, then thirteen years old, who changed his present and
determined his future. According to some she was the epitome
of grace and charm ; according to others, of ordinary looks and
low mentality. Their engagement followed ; she became ill in
1796 and died March 19, 1797. He now reckoned time from
this date and " arranged " to die on the anniversary of her death.
In December, 1797, however, he went to Freiberg in Saxony to
study mining under A. G. Werner, the geologist of Romanticism,
met Julie von Charpentier (1798), became engaged to her, re-
turned to Weissenfels and became a director of the salt works
and a government official. He died of tuberculosis, in the arms
of Fr. Schlegel, on March 25, 1801.
Novalis is the most " remarkable " figure in German Roman-
ticism. Contrary to the current opinion, he had good business
sense and ability and was, at the same time, a seraphic poet
and an idealistic philosopher, the Prophet of the Berlin-Jena
School. Except a few poems, he left all of his works unfinished.
He was utterly unknown in his day — his father sang his hymns
not knowing who had written them. And when Romanticism
began to be seriously studied by scholars and frequently imitated
by poets in 1890, it was Novalis who was first revived. Maeter-
linck has translated his "Fragmente" and ''Lehrlinge zu Sais"
into French. As originator and systematizer of the blue-flower
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THE WRITERS OF THE BERLIN-JENA GROUP
motifs he has found many disciples. Pure in character, he yet
influenced Heine. The gentle phase of later Romanticism, as
typified in Schulze's " Bezauberte Rose," came in part from him.
His pseudonym is from a branch of the family (De Novali) that
lived in the thirteenth century. His prototypes were Klopstock,
the ©ottinger ^ain, Biirger, Fichte, Schiller, and Goethe as
seen in the first three fourths of " Wilhelm Meisters Lehrjahre."
Goethe said of him, (£§ tag in i^m ba§ B^ug ju einem ^mperator.
He was the type/^r excellence of a Romanticist who lived with
himself, not with the world. Of him Maeterlinck says : ** He
has caught a glimpse of a certain number of things one would
never have suspected, had he not gone so far. He is the clock
that has marked some of the most subtle hours of the human
soul. It is evident that he has more than once been mistaken ;
but despite the winds of folly and of error whirling around him,
he has been able to maintain himself a longer time than any
other on the dangerous peaks where all is at the point of being
lost. He seems to be the hesitant consciousness of unity, but
the most vaguely complete that we have thus far had. And
there are few human beings in whom our universe was more
spiritualized and more divinely human."
BIBLIOGRAPHY
SfJODttlig ©d^riftcn. Edited by Ludwig Tieck and Friedrich Schlegel,
2 volumes in i, Berlin, 1837. This is the fifth edition; the first ap-
peared at Berlin in 1802. The fragment "Die Christenheit oder
Europa" was first published in the fourth edition, Berlin, 1826. Tieck
and Eduard von Biilow published a more complete edition in 1846.
9'20X)aliS ©d^riften. Edited by Ernst Heilborn, 3 volumes, Berlin, 1901 .
92ot)aliS ©d^riften. Edited by Jakob Minor, 4 volumes, Leipzig, 1907.
The most complete edition. Contains prefaces to various other edi-
tions, diary, variants and a biographical sketch by Kreisamtmann Just
(Volume I, pages xlix to Ixxxiii).
9lOt)aliS' SBctfe. One volume in 4 parts. Edited with biographical
introduction and special introductions to the different works by Her-
mann Friedemann, Berlin, no year (191 3). The most convenient place
to read Novalis.
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OUTLINE OF GERMAN ROMANTICISM
^Cinrid^ von Dftcrbingcn. Edited by Julian Schmidt, Leipzig, 1876.
144 pp. Contains introduction, pages i to xxiii, and brief notes.
§cinricl^ von Dfterbingcn. Edited by Wilhelm Bolsche, Leipzig, no
year (1903). 159 pp. Contains introduction, pages i to 9.
©cd^g pj^ilofopj^ifd^c SSortragc. By C. Fortlage, Jena, 1872. 238 pp.
Novalis (pages 73-115).
gncbrid^ von §arben6crg. A collection of valuable documents from
the family archives by a member of the family. Gotha, 1873. 251 pp.
Sorrow and Song. By Henry Curwen, London, 1875. Treats of
** broken lives," Ch^nier, Chatterton, Poe, Novalis (pages 101-197),
Petofi, Murger.
S'iowalig alS rcligidfer 2)ici^tcr. By G. A. L. Bauer, Leipzig, 1877.
46 pp.
2)cr ©influg SBili^elm 3Kcifter3 auf ben S^loman bcr Slomantilcr.
By J. O. E. Donner, Helsingfors, 1893. 211 pp. Novalis (pages 125-
147)-
92ot)anS. By Just Bing, Hamburg and Leipzig, 1893. 176 pp. Bio-
graphical sketch.
^iocalig' S^rif. By Carl Busse, Oppeln, 1898. 160 pp.
S'iooaUS, bcr Slomantifcr. By Ernst Heilbom, Berlin, 1901. 228 pp.
Contains a valuable catalogue of Novalis's library.
S'iooaUg a(g ^^Uofopl^. By Egon Fridell, Miinchen, 1904. 11 1 pp.
S'iowaUS. By E. Spenl^, Paris, 1904. 473 pp. In French, an excel-
lent treatise.
3afo6 Socl^mc unb bic S^lomantilcr. By Edgar Ederheimer, Heidel-
berg, 1904. 128 pp.
gtiebrid^ x)on §arbcn6crg3 Scsicl^ungen sur ^iaturwifjenfci^aft fcincr
gcit. By W. Olshausen, Leipzig, 1905. 76 pp.
3ur 3:e£tgcfcl^icl^tc von S'iooaUS' gtagmcntcn. By Antonie Hug von
Hugenstein, Wien, 1906. Pages 79 to 93 and 515 to 531.
2)aS @rlc6ni3 unb bic 2)ici^tung. By Wilhelm Dilthey, Leipzig, 1906.
405 pp. Lessing, Goethe, Novalis (pages 201 to 282), Holderlin.
S'iowaUS unb ©opl^ic von 5^ill^n. @inc pf^d^op^gfiologifd^c ©tubic.
By Johannes Schlaf, Miinchen, 1906. 70 pp.
S'iooaliS' ^cinrid^ von Dfterbingcn a(S SluSbrutf fcincr ^crfbnlid^Icit.
By Georg Gloege, Leipzig, 191 1. 188 pp.
SScrfd^TOclrmtc 2)cutfd^c. By Moeller van den Bruck, Minden i. W.,
no year. Novalis, pages 164 to 194. It will be noted that of the
twenty references here listed, only five, and these not important, pre-
date 1890.
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THE WRITERS OF THE BERLIN-JENA GROUP
READING LIST
1798. 2)ic Sc^rlingc ju ©ai3, geological fairy-tale, 38 pp.
1799. 2)ic (S^riftcn^cit obcr ®uropa, poetic essay, 20 pp. At the sug-
gestion of Goethe, the Schlegels declined to publish it in the
Athendutn,
1800. ^cinrid^ Don Dftcrbingcn, novel in two parts, first part complete,
194 pp.
1800. 3n)5lf gciftUd^c iJicbcr, 18 pp.
1800. ©cd^S ^^mncn an bic Slad^t, prose and verse, 21 pp.
1801. ©cbid^tc, gtagmcntc, ^agcfiiid^cr, dating back to youth. His most
popular poems are 3luf Qriincn Scrgcn wirb gcborcn; 2)cr ift
bcr $crr bcr @rbc; 2)cr ©Sngcr gc^t auf rau^cn ^fabcn ; SBcnn
id^ i^n nur ^abe. These have been published separately. His
fragments are so unfinished and incomplete that to say what
they mean is to speculate and nothing more.
AUGUST WILHELM VON SCHLEGEL
Bom September 8, 1767, at Hannover. Father, Johann
Adolf Schlegel, preacher, contributor to the Bremer Beitrdge^
poet, translated (1751) Batteux's " Einschrankung der schonen
Kiinste auf emen einzigen Grundsatz." Uncle, Johann Elias
Schlegel, one of the most talented critics before Lessing, a
staunch opponent of Gottsched, a serious student of Shake-
speare. Attended the lyceum of Hannover, entered Gottingen
(1786), studied theology and philology, influenced by C. G.
Heyne, G. A. Biirger and Friedrich Bouterwek, finished his
studies in 1791. Became a tutor at Amsterdam in 1792, held
the position until 1794, returned to Germany, worked with
Schiller until 1797, taught at Jena from 1796 to 1800. Married
Caroline Michaelis, widow of Boehmer, a physician ; they were
divorced in 1801, and she married Schelling. Helped in the
translation of sixteen of Shakespeare's plays (1797-1801),
"Richard III" in 18 10. Lectured on art and literature in
Berlin from 1801 to 1804. Companion of Madame de Stael
and tutor to her sons from 1804 to 18 13. Visited with her
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OUTLINE OF GERMAN ROMANTICISM
Sweden, Denmark, Switzerland, Italy; never left her until her
death in 1817. It is surmised that he helped her write " De
TAllemagne." Studied Sanscrit at Paris (18 16-18 17), then was
appointed professor at Bonn, where he remained till his death.
Easy, elegant, correct, chivalric, vain, generous in disposition.
Extremely weak as a poet, extremely well-read, the foremost
critic of the Berlin- Jena school and one of the world's greatest
translators. Made the literatures of India, Italy, Greece, Spain,
Portugal, accessible to the Germans. Protestant in religion, a
follower of the Classicists of Weimar in poetry ; resembled Herder
somewhat in criticism and Wieland in literary grace; a master
of prosody, a man who could make effective the ideas of others;
the systematizer and herald of the Romantic doctrines of art,
he carried out the ideas of Lessing in his attack on the classical
French drama, so that French Romanticism owed him much.
Goethe said of him : ®r iDcife unenbUd^ diet, unb man crfd^ricft
faft Uber feine au^erorbentlid^en Scnntniffe unb fcinc grofee
Selefen^eit. StIIein bamit ift e§ nid^t get^on. Stlle ©elc^rfom^
leit ift nod^ fcin Urt^eil. ©eine Jlritif ift burd^au^ cinfeitig.
Died at Bonn, May 12, 1845.
BIBLIOGRAPHY
2luguft aOBill^clm ©d^lcgclS fommtad^c 2Bcr!c. Edited by Eduard
Bocking, 12 volumes in 6, Leipzig, 1847.
2)cutfci^C SWationalaiJittcratur. Biographical sketch of the Schlegels,
pages i to Ixxv, by Oskar F. Walzel, Volume 143, Stuttgart, no year.
j^leine ©d^riftcn. By David Friedrich Strauss, pages 122 to 184,
Leipzig, 1862.
3ur ©ntfte^ungSgcfd^id^tc bcS ©d^lcgclfd^cn ©^afcfpcarc. By Michael
Bemays, Leipzig, 1872. 260 pp.
2)ic Srilbcr 2luguft SGBil^elm unb gticbrid^ ©d^legcl in il^rcm SScrJ^alt^
nif[c jur Bilbcnbcn ^unft. By Emil Sulger-Gebing, MUnchen, 1897.
199 pp. "
The Indebtedness of Samuel Taylor Coleridge to August Wilhelm
Schlegel. By Anna Augusta Helmholtz, Madison, Wisconsin, 1907.
97 PP-
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THE WRITERS OF THE BERLIN-JENA GROUP
READING LIST
1 791. 3lug bcm Stalicnifd^cn. 2)antc. fiber bic Qbttlid^c ilombbic. Vol-
ume 3 (" Schriften "), pp. 199-388. Appeared in Burger's
Akademie der schbnen KiinsUy Volume i, Part 3, pp. 239-310.
Discusses the political conditions of Dante's time.
1795. 33ricfc tibcr ^ocfic, ©ilbcnma^ unb ©prad^c. Volume 7, pp.
98-154. Appeared in Schiller's Horen and was influenced by
Schiller's " Uber naive und sentimentalische Dichtung."
1796. ®tn)aS iibcr SBiUiam ©^afcfpcarc bci ©clegcnl^cit SGBil^clm
SRciftcrS. Volume 7, pp. 24-64. Appeared in Schiller's
Horen.
1797. fiber ©^afefpcareS S^lomco unb 3uUa. Volume 7, pp. 71-97.
Appeared in Schiller's Horen.
1801. ©l^renpfortc wnb Xriumpl^bogen fUr ben ^J^catcrprfifibenten
Don j^o^ebue. Satire in prose and verse against Kotzebue,
104 pp.
1803. Son, drama, 100 pp. 2)ie ©teUc im 1. 3lft, wo Son bie SSogel aug
bem ^empcl fd^cud^t, l^at ©riUparjcr in ;r^cS aWeercg unb ber
Siebe SGBeUcn* benu^t.
181 1. SSorlcfungcn iibcr bramatifd^e ^unft unb Sitcratur. Read lectures
I, and 26 to 31.
1821. @ebid^te. Dating back to 178 1. Volume i, pp. 1-384. Schlegel's
poems are weak. 3lrion, Sw bcr gtembc and the one on the
sonnet are fair. The sonnet on himself is a poetization of his
own vanity.
KARL WILHELM FRIEDRICH VON SCHLEGEL
Bom March 10, 1772, at Hannover, brother of August
Wilhelm Schlegel. Their father, Johann Adolf, died in 1793,
the year Friedrich made his literary dkbut with his essay on the
schools of Greek poets. Dull and melancholy in his youth, his
parents thought it best to start him in business; but in 1788
he entered the University of Gottingen to study law and philol-
ogy, went then to Leipzig and turned his attention to literature.
Influenced by C. G. Heyne. Led a wild life while at Leipzig
(May 1 79 1 -Jan. 1794). Became interested in Greek through
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OUTLINE OF GERMAN ROMANTICISM
the influence of Caroline Michaelis-Boehmer, influenced by Gott-
fried Korner in Dresden (1794-96). Went to Jena in 1796,
where he worked out the theory of Romanticism from Goethe's
"Wilhelm Meister." Broke with Schiller (May 31, 1797) partly
because Schiller published Caroline von Wolzogen's "Agnes von
Lilien" in the Horen, Went (1797) to Berlin and was in-
troduced by the musician Reichardt to Henriette Herz, Rahel
Levin, Dorothea Mendelssohn-Veit and Schleiermacher. Estab-
lished with August Wilhelm Das Athendum (i 798-1800),
the official organ of the older school. Lived in the Romantic
circle in Jena from 1798 to 1800. Broke, partly, with his brother
after writing " Lucinde." Studied Sanscrit in Paris from 1801
to 1808 and published the magazine Europa, Lived with
Dorothea Mendelssohn-Veit from 1799; she was baptized in
1804 and both joined the Catholic Church in 1808 (or 1803),
the first famous " conversion " since the days of F. Stolberg.
Went to Vienna in 1809, lectured on modem history and litera-
ture with great success ; became friendly with Mettemich, to
whom he dedicated his " Geschichte der alten und neuen Litera-
tur " (1812) ; was Secretary of the Diet at Frankfurt am Main
(18 1 5- 1 8); published the magazine Concordia from 1820 to
1823, a paper which tried in vain to reconcile the conflicting views
on Church and State. Together with his brother Wilhelm he
was the originator of modem criticism. A lazy genius, while his
brother was a man of industrious talent. The two regenerated,
or created, classical philology ; Friedrich was one of the first to
make a real study of Goethe and of Lessing, from the latter
of whom he in part derived the idea of " Fragmente." He
drew the line from Fichte to Romanticism. Goethe defended
him and had his " Alarcos" performed, partly because Kotzebue
attacked him. An unusually suggestive writer ; it was he who
first found bie Sprad^e ber rol^en obcr Iroftigen 9?atur in ber
ionifd^en, bie ber @ro§e in ber borifd^en, bie ber ©d^onl^eit in
ber attifd^en, bie ber Siinftelei in ber atejonbrinifd^en S)id^ter^
fd^ule. So it always was with him; he gave a new turn to
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THE WRITERS OF THE BERLIN-JENA GROUP
everything he touched. His wife Dorothea not only helped
him by suggestion but did some of the work now published
under his name. He said of the literature of his time : ©tim=
mung tt)irb ©egenftanb eine§ S)rama, unb ein bramatifd^er
(Stoff tt)irb in I^rifd^e Sorm gejmdngt. S)ie l^crborbringenbe
ffiraft ift raftlog unb unftat, . . . bie SKobe ^tbigt mit jebem
Stugenblicfe cinem neuen Slbgotte. . . . S)ie beutfd^e ^oefie
ftettt ein uoHftanbige^ gcograp^ifd^e^ 9?aturaUen*S^abinct aHer
Stationat^S^araltere jebe^ 3^itti(tcr§ unb jeber SBettgegenb
bar ; nur ber beutfd^e, fagt man, fe^Ie. He was always fond
of jesting, especially about the evils that had come over the
world with the inventing of the printing press. His wife died
August 3, 1839; he himself died at Dresden while giving a
series of lectures, January 12, 1829.
BIBLIOGRAPHY
gricbrid^ t)on ©d^Iegclg fammtlici^c SBctfe. Fifteen volumes in 7,
Vienna, 1847. ^^ the last volume, pages 263 to 288, there is a good
biogp-aphical and critical sketch by Ernst, Freiherr von Feuchtersleben.
gncbdd^ ©c^lcgclg profaifd^c SuQcnbfd^nften (1794-1802). Edited by
J. Minor, Wien, 1906. This is invaluable; it contains those brilliant
flashes of incoherent wit that characterized the youthful writer.
gricbrid^ ©C^IcgcI unb bie Xenicn. By Michael Bemays, Leipzig, 1869.
56 pp.
gricbrid^ ©d^Icgel am S3unbc3tag in granffurt. By J . Bleyer, Miinchen,
1913-
Friedrich SchlegePs Relations with Reichardt. By S. P. Capen,
Philadelphia, 1903. 49 pp.
Fr^d^ric Schlegel et la gen^se du Romantisme allemand. By I.
Rouge, Paris, 1904. 315 pp. An excellent treatise.
2)ic tcligiongp^ilofop^ifd^cn Slnfid^tcn gricbnd^ ©d^IcgcIS. By Wal-
ther Glawe, Berlin, 1905. 45 pp.
griebrid^ @d^tege(3 p^itofop^ifc^e ^nfd^auungen in i^rer ®ntn)idEe«
lung wnb f^ftematifd^cn 3luSgcftaItung. By Paul Lerch, Berlin, 1905.
80 pp.
gricbrtd^ ©d^lcgclS ©cfd^id^tSp^ilofop^ic. By Friedrich Lederbogen,
Leipzig, 1908. 86 pp.
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' OUTLINE OF GERMAN ROMANTICISM
READING LIST
1795. fiber bie 2)iotima, prose sketch, Volume 4 (" Werke"), pp. 7 i-i 16.
1799. Sucinbc, formless novel, 300 small pages in the first edition.
^aum jc 5UX)or nod^ fpdtcr ^at cin bcutfd^cr 9ioman \oliH) ^rgcr*
nig crregt voie bic Sucinbc.
1802. 2l(arcoS, tragedy, 70 pp. Written in mahy different verse and
strophe forms. Goethe had it performed at Weimar ; it was
at this performance that he rose from his seat and said to the
audience, „Tlan lad^c nid^t I"
1804. ©cfd^id^te bcS ^aubexcv^ 3Kcrlin, romance in prose, Volume 7,
pp. I -1 40. Really written by Dorothea.
1808. SSom Urfprung bcr ^ocfic, prose sketch, Volume 8, pp. 351-355.
Valuable.
1808. iiBcr bic SGBciS^cit unb ©prad^c bcr Snbicr, critical discussion,
III pp.
1809. ©ebid^tc. Best known : ©albcron ; 3»n 2Ba(bc ; 3m ©pcff art ; ®C3
litbbc; ^cutfd^er @inn; S)a§ ©wigc; %u^ bcm j^lagcgcfange
bcr aKuttcr ©ottcS; SBcifc bcS 2)id^tcrS; 2ln iJubwig Xicd.
1812. ©cfd^id^tc bcr altcn unb ncucn Sitcratur, Volume 2, pp. 1-248.
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SECTION VI
THE FATE DRAMATISTS
One of the most peculiar episodes in the Romantic
movement was the fate drama. More interesting than
artistic, it grew out of the events of the time. From 1 789
to 181 5, Napoleon was the man of Fate. To the Germans
he seemed like the mysterious fulfiller of a higher will.
And after his overthrow, the Holy Alliance of Prussia,
Austria and Russia, which nipped in the bud any far-away
hope the Germans had of united and concentrated effort,
seemed like a second fate, worse than the first. The
fearful battles of the War of Liberation had been fought
and won to no purpose so far as civic and social and
national relief was concerned. Small wonder then that
the poets of the time visualized and reflected such un-
toward incidents. The motif in Germany was not the
invention of any one poet. A movement in which Tieck,
Schiller and Grillparzer played each a prominent part
cannot have been based on any unity of action. Also,
it is a vague conceit. When is a drama a fate drama.?
It is impossible to determine this with stop-watch accu-
racy. Purpose and chance, or fate, frequently play parallel
rdles in the lives of mpn A faff^ (IramQ iQ nnp ^hprp fafp
is predom inant, where the turning point is sharp and pro-
nounced rather than round ?^n(^ therpfnrp sr>mnnrVinf ni^nr
,in development. .
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OUTLINE OF GERMAN ROMANTICISM
The scheme, for scheme it was, appealed to some of the
Romanticists because it gave them an opportunity to utilize
the gruesome, the spectral, the criminal and the melo-
dramatic. Then there was Calderon, whom they were
studying and who had done, after a fashion, the same
thing. Such a movement could naturally have but a short-
lived existence, and by 1820 it was already being parodied
by Castelli, Platen and others, though, like Romanticism
itself, it never entirely disappeared and traces of it are still
to be found in the works of Ludwig, Hauptmann, Hof-
mannsthal and Schnitzler. Nor was the idea original with
the Romanticists; it was employed by the Greeks, where
the great — the gods — ruled over the small — the mortals.
With the Romanticists it was the reverse : The small — a
date or a dagger — ruled over the great — the mortals.
The three most conspicuous fate dramatists are Houwald,
Milliner and Zacharias Werner.
An idea of the fate drama can be obtained from Milliner's
" Schuld," one of the most important of the series. The
tragedy was written in 1812, first performed April 17,
18 1 3, and, after a few scenes had been published in Die
Zeitung fur die elegante Welty it appeared at Leipzig in
18 16. In the preface to the third edition, written in 18 17,
Milliner says, 9Son bcr ©d^utb ftnb bi^ jcfet brei S)iebc^aug=
gabcn, l^dffid^crnjeife 9?ad^brude genannt, crfd^ienen. It was
translated into English by W. G. Frye under the title
'*The Guilt, or the Gipsy's Prophecy," and by Gillies
under the title " Guilt, or the Anniversary." Sainte-Aulaire
translated it into French under the title " L'Expiation,"
Dobrentei translated it into Hungarian, and there is also a
Danish rendering. The play was highly praised in its day ;
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THE FATE DRAMATISTS
that it contains poetic scenes cannot be denied even by the
most prejudiced, though it is not so effective, dramatically,
as Werner's ** Der vierundzwanzigste Februar." Miillner
denied that he had been influenced by Schiller. Aside
from servants there are seven characters ; the place is the
shore of the North Sea. The plot is as follows :
Don Valeros, a Castilian lord, has a son Hugo, who,
on account of a prenatal curse pronounced by a Gipsy
woman, has been entrusted to the family of Count Oerindur
in the North. After reaching maturity, Hugo goes to
Spain, and falls fatally in love with Elvire, the wife of Don
Carlos. Hugo kills Carlos while hunting and he and Elvire
then go to the North according to a previous agreement.
Valeros follows them in order to take vengeance on the
murderer of Carlos. To his indescribable surprise, he
learns that Hugo and Don Carlos are brothers, and that
the curse pronounced by the Gipsy has been fulfilled on
account of the very precautions that were taken to obviate
it. When Hugo sees what he has done, he takes his own
life, Elvire having, in the meanwhile, taken hers. The
curse of the Gipsy was as follows :
2:a9c{ang mirft bu bi(i) quolen,
6^' bu quitt mirft beiner Saft!
3ft, n)Q§ bu gebierft, ein Snabe,
SBiirgt er ben, btn bu f(i)on ^a\i ;
3ft^§ ein aSeib^bitb, ftirbt^g burd^ i^,
Unb bu fdl^rft in ©iinben l^in.
The motif of fate is ever present. Hugo says that he is
not sinful and murder-loving by nature, but that an unpro-
pitious fate had foredoomed him to this inevitable end.
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He takes his life with the same dagger that Elvire had
thrust into her own heart, and both die on the anniversary
of Don Carlos's death. The motif of the harp with the
string that broke is also effectively used and never lost
sight of; it begins the drama and closes it.
As Milliner said, it is perfectly evident that he could
not have received any essential inspiration from an3^ing
Schiller ever wrote ; but the similarity between Milliner's
" Schuld '* and Grillparzer*s "Ahnfrau," written only
three years later, lies on the surface.
Of the fate drama Heine says: S)ie ®ried^en fut)ttcn
IDO^I bie Slotlijenbigfeit, biefe^ qualuoKe SBarum in ber %x(x^
gSbie ju erbriiden, unb fie erfannen bai§ gatum. . . . SSiele
2)id^ter unferer '^txi t)aben ba^felbe gefiil^tt, bai§ gatum nad^=^
gebifbet, unb fo entftanben unfere I)eutigen @d^irf)at^trag5bien.
D6 biefe 9?a(^6itbung gfiidKid^ xoox, ob fie iiber^aupt 3let)n==
Itc^f eit mit bent gried^ifc^en Urbitb I)atte, laffen ipir bat)ingeftellt.
®enug, fo I6bltd^ auc^ bai§ ©treben nad^ §ert)or6ringung ber
®efut)feeint)eit mar, fo tt)ar bod^ jene ©d^idfateibee eine \t\)x
traurige Stu^pffe, ein unerquidfltd^e^, fd^abfid^e^ ©urrogat.
®ans miberfpred^enb ift jene ©d^idfafeibee mit bem ®eift unb
ber aWoral unferer '^txi, tDetd^e beibe burd^ bai§ St)riftentum
auiggebilbet iporben.
CHRISTOPH ERNST, FREIHERR VON HOUWALD
Bom November 29, 1778, at the baronial castle, Straupitz in
der Niederlausitz. Family ennobled in 1656. Father a lawyer,
president of the General Court of Justice. Studied (i 793-1802)
domain-science at Halle, where he formed a lifelong friendship
with Contessa. Married 1806. Had nine children of his own
and adopted three others. Wrote much for children. Faithful
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THE FATE DRAMATISTS
attendance to his duties as farmer, land-syndicate and charity-
officer interfered with his writing. Main period of poetic pro-
duction 1817--24. Gentle, lovable, somewhat sentimental and
melancholy temperament. Never rich, always generous. Pop-
ular, rather because of his disposition than because of his genius.
Decorated by Frederick William III and patronized by Frederick
William IV. Died on his estate, January 29, 1845.
BIBLIOGRAPHY
®rnft von ^ouwalbg fammtlid^c SBcrlc. Edited (uncritical) by Fried-
rich Adami, 5 volumes, Leipzig, 1859. 2)aS Seben bed Xxd)Uv^y by
Adami, Volume i, pp. 1-96.
2)aS ©d^icffaldbrama. Edited by Jakob Minor, D. N. L., Volume 151.
Introduction, pp. i-vii, and pp. 459-462 for Houwald.
Xxe ©c^iicffaldtragbbic in il^ren ^auptoertretern. By Jakob Minor,
Frankfurt am Main, 1883. 189 pp. Treats Werner, Milliner and Hou-
wald (pp. 159-189).
§oun)alb alS 2)ramatilcr . By Otto Schmidtbom, Marburg, 1909. 62 pp.
(Teildruck.)
READING LIST
1 81 7. 9lomantifci^e 2l!!orbc, miscellaneous prose sketches, tales, etc.,
426 pp.
1818. ©cinem ©d^idfal fann S'liemanb cntgel^cn, farce, ridiculing fate
tragedies, 38 pp.
181 9. ©ebid^tc. Volume IV, pp. 543-664. Begun in 1797.
1819. 2)aS S3ilb, tragedy, 178 pp.
1 819. 2)cr ^^eud^tt^urm, tragedy, 84 pp.
1820. giwc^ unb ©cgen, drama, 47 pp.
AMANDUS GOTTFRIED ADOLF MULLNER
Bom October 18, 1774, at Langendorf. Father plain and
quiet Mother, the favorite sister of G. A. Burger, talkative ^md
imaginative. Studied (1789-93) at Schulpforta, and took a
course in law at Leipzig (1793-97). Practiced law at Weissen-
fels from 1798 till his death. Established there an amateur
theatre in 18 10. An actor himself. Almost forty before he
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OUTLINE OF GERMAN ROMANTICISM
began to write. All his plays written between 1809 and 18 19.
In 18 1 2 he wrote two comedies and two tragedies. His comedies
abound in uncles. Edited three different magazines. Received
(1805) the degree of doctor of laws at Wittenberg. Married
Amalia von Lochau. Querulous and critical by nature. Wrote a
few prose stories that deal with criminal subjects. Died June 1 1,
1829, at Weissenfels.
BIBLIOGRAPHY
SWiiUncrS bramatifd^C 2Bcrfc. Seven volumes in 4, Braunschweig,
1828. Prefaces by Milliner.
SWiiUncrS !dtbcn, ©^araftcr unb ®cift. By Professor Dr. Schiitz,.
Meissen, 1830. 480 small pages.
READING LIST
181 2. ^ic ©d^ulb, tragedy, 188 small pages.
18 1 2. 3)cr ncununbjroanjigftc gebruar, tragedy, 72 small pages.
181 5. 2)ic Dnfcici, comedy, 100 small pages.
FRIEDRICH LUDWIG ZACHARIAS WERNER
Bom November 18, 1768, at Konigsberg. His father, a
professor at Konigsberg, died in 1782. His mother was nervous
and abnormal ; she died in the obsession that she was the Holy
Mother and that the Savior was her son. He attended the
University of Konigsberg from 1784 to 1790. Heard Kant.
Held government positions in South Prussia from 1793 to 1805.
At Warsaw he associated with E. T. A. Hoffmann, J. E. Hitzig
and Mnioch. During this period he was three times married and
three times divorced. His mother and Mnioch died on Feb-
ruary 24, 1804. In 1805 he received a government position in
Berlin, where he associated with the men of letters of me time.
His "Luther" was performed in Berlin in 1806. Received from
Prince Primas Dalberg in 1809 a pension ; this was later taken
over by Karl August of Saxe- Weimar. Went over, first secretly
then openly, to the Catholic Church, became a priest in 18 14
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THE FATE DRAMATISTS
and spent the rest of his life preaching to great companies
in Wien. A man of real gifts, especially along the line of the
drama. Admired by Schiller, Goethe and Grillparzer at first;
some thought he would take the place of Schiller as a dramatist.
His best poetic years were 1805-18 lo. After this his religiosity
completely carried him away. One of the most unwholesome
characters in German literature. Influenced by J. Boehme,
Tieck, Wackenroder, Schleiermacher. Wrote several poems.
His sermons read rather well. Made little distinction in his
youth between the church and the theatre ; he preached from
the stage and acted from the pulpit. 3^^^^^^^ SBerner War
ber einjige ®ramatifer ber ©d^ule, beffen Stiirfe auf ber Sii^ne
aufgefii^rt unb tyom parterre apptaubiert tt)urben. Died at
Wien, January 17, 1823.
BIBLIOGRAPHY
3(tcl^atiad SGBcrner : La Conversion d'un romanHque. By E. Vierling,
Nancy, 1908. 333 pp. Appendix of 37 pp.
3aci^aria3 SBctnerS 2Bei^c ber ^raft. @inc ©tubic sur Xcd^nil bcS
2)ramaS. By Jonas Frankel, Hamttur^, i^^J. 141 pp.
iibcr ben ©influj x)on 3a^ttriaS'^^er«^^ aw^ftil auf fcin bramatis
fc^eg ©d^affcn. By Karl Irmler, Metz, 1906. 40 pp.
Sad^ariaS SBerner. Tlr)\ixt unb 3flomantiI in ben „©dl^nen beg ^l^alg.^
By Felix Poppenberg, Berlin, 1893. 79 PP- A good study.
gaci^anaS 2BernerS auggeroa^ltc ©d^riften. Fifteen volumes in 5,
Grimma, 1841. Volume 5 (pp. 14-15) contains a biographical sketch of
Werner together with some letters and excerpts from his diary. 432 pp.
READING LIST
1803. 2)ic ©ol^ne beg %^al^, drama in two parts, 12 acts, 541 pp.
1806. ^aS ^reuj an ber Dftfee, tragedy in 3 acts, 100 pp.
1807. aWartin iiutl^er, ober bie SBeil^e ber ^raft, historical drama in 5 acts,
225 pp.
1808. Slttila, ^onig ber §unnen, romantic tragedy in 5 acts, 168 pp.
1808. SBanba, romantic tragedy in 5 acts, with songs, 85 pp.
1809. ^er cierunbgroanjigftc geBruar, fate tragedy in i act, 55 pp.
18 1 6. 2)ic HWutter ber SWaffabaer, tragedy in 5 acts, 172 pp.
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SECTION VII
THE WRITERS OF THE HEIDELBERG GROUP
It is extremely difficult, it is indeed impossible, to draw
a sort of literary Mason and Dixon line between the old
and the young Romanticists. In the main, we associate
the former with Jena and Berlin, the latter with Heidel-
berg. In general, the former were bom about five years
before the latter. But then there were all kinds of natal,
congenital, regional and temperamental exceptions. Amim
and Brentano were, for example, of Berlin. And yet, de-
spite the fact that the ideals and tendencies of the two
groups were more or l^s§ similar, it was largely a question
of the North and the ^^utfev" And in a broad way it can
be said that the North was critical, the South was creative.
And then we think of Tieck, to whom this generalization
is unjust — generalizations in literature are always unjust
to some one. And it was also a question of Goethe. He
found those of Heidelberg more congenial — they were
more poetic. They collected folk songs, and that reminded
him of Herder, and of himself. They wrote works that
contained more human touches than did those of Tieck
and the Schlegels, and that pleased him. And they were
younger so that he could chide them and send them away
with more propriety than he could the others. And he did
send them away when they began to preach an extrava-
gant subjectivism and a delicious dolce far niente and a
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THE WRITERS OF THE HEIDELBERG GROUP
Mediaeval as opposed to Classical art. By 1808 Goethe
had passed through his era of S)eutf(f|e Stunft ; he was now
interested more in Helena than Herzeloide. The second
part of " Faust " is indeed Romantic, but it is Romantic
in the old, in the northern, sense, not in the southern.
The fundamental difference between the Romanticism
of Berlin and that of Heidelberg is best brought out in
the journals, in the respective official organs, of the two
groups. The very name Athendum is significant. Either
its editors are manifestly planning to look down from
some lofty height on their own land or they are going to
revive the glories, by way of teaching a lesson, of some
far-away land in a far-off age. They did the latter. Vari-
ous other names were at first suggested for this paper :
HerkuleSy Dioskuren^ Parzen^ but none of these would do.
Neither would Deutsche Annalen nor Freya. Then for a
while it was a choice between Schlegeletim and Athendtim^
and this was chosen. The Schlegels made it plain that they
were not simply the editors but also the contributors. Only
a select few wrote for this journal. And Heine's too fre-
quently quoted remark about Romanticism and Mediaeval-
ism comes to poignant grief on reading this journal. Greece,
the Romance peoples, the philosophy of the late eighteenth
and the early nineteenth century, and the authors themselves,
these are the sole themes of this Romantic magazine with
the Classic name. Of its 1047 pages there are scarcely
47 pages of easy reading. The Athendum is typical of
Berlin-Jena Romanticism, of the North.
With Heidelberg, with the South, all this is different.
The very name, Einsiedler-Zeitung or Trosteinsamkeit, is
again significant. The editors, Amim, Brentano and Gorres,
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OUTLINE OF GERMAN ROMANTICISM
were not planning to retire from their own land; they
wished, on the contrary, to revive the best there was in it,
and they hoped to do this by retiring from a number of
"causes" which seemed to them overworked or unworthy;
and not the least of these was the idolization of Classical
antiquity. And Heidelberg, which at this time boasted of
such names as Thibaut, Creuzer, Fries, Bockh and Daub,
and which was on the point of getting Tieck, who did not
write for the Athendum, was in a particularly happy posi-
tion to popularize the best traditions of Germany. There
are 412 pages in the Einsiedler-Zeitungy as published in
book form, and there are about 100 different articles.
Excepting a very few by Friedrich Schlegel and Friedrich
Wilken, every single one is on a Germanic theme.
To make, therefore, a few guarded generalizations, Berlin
Romanticism was critical, philosophic, foreign, unpopular ;
Heidelberg Romanticism was creative, poetic, Germanic,
popular. Berlin abounded in irony^ was cosmopolitan,
unlyrical, speculative/ and more perfect in form; Heidel-
berg had more humanness, was national, readable, lyrical,
graphic, and richer in content. Despite Tieck's prolific-
ness, no writer of the old group wrote a single work that
is still read for pleasure's sake ; each writer of the Heidel-
berg group did. Berlin suggested, Heidelberg executed.
The main poets of Heidelberg were Arnim, Brentano,
Chamisso, Eichendorff and Uhland. This is, however,
only a conventional grouping. Arnim, Brentano and Cha-
misso lived, after 1808, in Berlin and constituted what
might be called a second Berlin School. Nor was Eichen-
dorff of the South by birth. Even regional generalizations
are, in the case of poets, generally impossible.
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THE WRITERS OF THE HEIDELBERG GROUP
LUDWIG JOACHIM VON ARNIM (Achim von Arnim).
Amim was bom at Berlin, January 26, 1781. He came of
sturdy stock in the Mark, his family belonging to the nobility.
After attending the Joachimsthalsches gymnasium in Berlin, he
entered (1798) the University of Halle, where he concerned him-
self with physics, then a popular study. In 1800 he entered
the University of Gottingen, where he continued his researches
in mathematics, physics and chemistry. As early as 1799 he
published an article on electricity that attracted attention. It
was at Gottingen that he became acquainted with Goethe and
Brentano; the latter saved him for literature. From 1801 to
1 8 1 4 he lived an imsettled life ; travelled through South Germany,
Switzerland, France, England, Holland, the Rhine region; was
in Heidelberg from 1805 to 1806, or 1807, in close touch with
Brentano, Gorres and the Grimms. He then lived in Berlin,
Gottingen, Heidelberg, Weimar and Konigsberg. In 181 1 he
married Bettina, Brentano's sister, with whom he lived an ex-
tremely happy married life; they had seven children. During
the War of Liberation he was captain of the Sanbfturm. In
18 1 4 he retired to his estate at Wipersdorf near Dahme, near
Berlin, where he died of apoplexy on January 21, 1831.
Amim bears about the same relation to the Heidelberg School
that Tieck bears to the Berlin-Jena School. A loyal Protestant,
a chivalric gentleman, a noble patriot, he condemned Napoleon
and fought for the reforms of Stein when it was even physically
dangerous to take such a stand. He is one of the most amiable
characters in German Romanticism, one who never allowed the
aberrations of the movement to get away with him. Though
known now chiefly because of his work on " Des Knaben
Wunderhom," in which he was interested mostly as an ethical,
patriotic, national enterprise, while Brentano was concemed
with the aesthetic side of the task, he nevertheless wrote some
interesting if not great dramas, many lyrics, mostly scattered
throughout his prose works, and a number of excellent novels
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OUTLINE OF GERMAN ROMANTICISM
and short stories. His greatest work is " Die Kronenwachter."
He was a great student of Herder and a great admirer of Goethe.
Eichendorff said of him: SBZannlid^ fd^on, t)on eblem, l^ol^em
SBud^fe, freimiitig, feurig unb ntilb, suberldffig unb el^ren^aft
in ottem SBefen, treu 5U ben greunben l^altenb, tt)o biefe bon
alien bertaffen, — mar 9trnim in ber J^at, ma§ anbere burd^
mitielalterlid^en Stufpu^ gem fd^einen mollten : eine ritterlid^e
Grfd^einung im beften ©inne. His own words, a sort of prayer,
found in " Die Kronenwachter," give a clear idea of his laudable
ambition ;
®ib Siebe tnir unb etnen frol^en 3Kunb,
2)a6 t(^ bic^, ^err, ber ®rbe tue funb ;
©efunb^cit gib bei forgenfreiem Out,
®in frotntneS gcrj unb etnen f eften SWut ;
®tb ^inber ntir, bie aUer SWtil^e roert,
SSerfd^euc^' bie geinbe ©on bem trauten §erb;
®tb gliigel bann unb einen 5>i»9el ©anb,
2)en ^ilgel ©anb im lieben SSaterlanb,
2)ie glUgel fd^enf ' bent abfc^tebfd^roeren Oetft,
2)a6 er ftd^ leic^t ber fc^bnen SBelt entret^t.
BIBLIOGRAPHY
2lrnint§ SBerfe. Edited by Monty Jacobs, Berlin, no year ( 1910), 2 vol-
umes. The best edition for the general student (Goldene Klassiker-
Bibliothek), contains excellent biographical and critical introduction
(pages i to Ixx), special introductions to the separate works, and 25
pages of good notes.
SluSgetDft^Ue S'JODCUen. Berlin, 1853. Contains 9 of Amim*s short
stories.
Slc^int Don Slrnim unb bie il^m nal^e ftanben. By Reinhold Steig and
Hermann Grimm, 3 volumes, Stuttgart, 1894-1904. A work in every
way monumental.
2lrnintS %t'6^i ©tnfantfeit. Edited in book form by Fridrich Pfaff,
Freiburg and Tiibingen, 1883. 412 pages. The most convenient place
to study tlie official organ of the Heidelberg School. The work is sup-
plied with an introduction of 96 pages.
2)eS 5lnaben SBunberl^orn. By Anton Birlinger and Wilhelm Crece-
lius, with illustrations by H. Mert^ and C. G. Specht, 2 volumes, Wies-
baden, 1 874-1 876. A valuable work.
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THE WRITERS OF THE HEIDELBERG GROUP
2)eS ^nabcn SBunbcr^orn unb fcinc DucKen. By Ferdinand Rieser,
Dortmund, 1908. 560 pp.
SlrnimS unb StentanoS rotnantifc^c SSolfSliebs^rncuerungcn. By J.
E. V. Miiller, Hamburg, 1906. 74 pp.
goUind Sicbclcbcn. Edited with an introduction by J. Minor, Stutt-
gart, 1883. 148 pp. (An excellent study for the biographical material in
this novel.)
2)ic Scjic^ungcn beS 2)ramatifcrS Sld^im ©on Slmitn jur altbeutfc^cn
Sitcratur. By Walther Bottermann, Gottingen, 1895. ^^ PP-
2)ie Orfifin 2)olotcS. By Friedrich Schulze, Leipzig, 1904. loi pp.
£. ^d^itn t)on ^rnimS deiftige ©nttoidelung an feinent ^ranta „^aUe
unb S^^fwfttlcm'' erldutcrt. By Friedrich Schonemann, Leipzig, 191 2.
269 pp. Bibliography, pages xiv-xv.
READING LIST
1802. §oUinS Siebeleben, novel on the style of " Werther," 131 pp.
1808. 2)cS ^naben SBunbcrl^om. (First three volumes.)
1810. 2lrntut^, Jleic^t^um, ©c^ulb unb Su^e ber ©rfifin 2)oloreS: cine
maf)vt @e{(^i(^te }ur (e^rreic^en Unter^altung arnter {^rciulein,
novel, 764 pp.
181 1. 3lox>eUen: Sfabctta ©on SCg^ptcn, 115 pp. ; 2)cr tottc3n©altbe auf
bem gort Slatonncau, 1 7 pp. ; gilrft ©anjgott unb ©anger §alb?
gott, 40 pp.
181 1. §atte unb S^tufalent, drama, 250 pp.
18 1 3. Xie Slppelmfinner, puppet play, 48 pp.
181 3. 2)cr ©tra^laucr Sifd^jug, comedy, 28 pp.
181 7. 2)tC ^ronenrofid^tct. Really the first German novel of importance
taken from Germany's remote past. Incomplete, 491 pp. (Con-
tains, as do all of Arnim's works, scattered lyrics.)
CLEMENS MARIA BRENTANO
Brentano was bom at Thal-Ehrenbreitstein, September 8,
1778. The one poet of the Romantic School of Italian parent-
age, he is in many ways connected with the literary lights of his
day. His father, Pietro Antonio Brentano, married Maximiliane
von Laroche and from this marriage sprang also Kunigunde,
the wife of Savigny, and Bettina, the wife of Achim von Amim.
Hermann Grimm married Gisela von Amim, the daughter of
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OUTLINE OF GERMAN ROMANTICISM
Bettina; Maximiliane is mentioned in "Dichtung und Wahrheit,"
and Sophie Laroche, the grandmother of Clemens, the author of
" Fraulein von Sternheim," was a friend of Wieland in his youth.
Brcntano's mother died in 1793, his father in 1797, leaving the
naturally untractable child to be brought up by an embittered
aunt, Luise von Mohn. He lived an extremely irregular life.
After attending preparatory schools in Koblenz and Mannheim,
he was placed (1795) in an oil and wine store in Langensalza,
where unspeakably distasteful duties devolved upon him. In 1 7 9 7
he entered the University of Halle,' in 1798 Jena, where he saw
Wieland, Herder, Goethe and the Romanticists. He married
( 1 803) Sofie Schubert, the divorcee of Professor Mereau. She died
in 1806, and in 1807 he married Auguste Busmann, from whom
he was soon divorced. Later in life he fell in love, in Berlin,
with a Protestant, Luise Hensel, who jilted him. On February 2,
181 7, he went, for the first time since childhood, to the priest
to confess, and lived a different life from then on. From 18 18
to 1824 he lived in Diilmen, observing and writing down the
remarks of an erratic nun, Katharine Emmerich. During the
last eighteen years of life he gave up poetry entirely and
devoted himself to Catholicism. He died at Aschaffenburg,
July 28, 1842.
Brentano is one of the strangest characters in German Ro-
manticism. He lived Romanticism. He wrote some good lyrics;
attacked, in satirical skits, Kotzebue; did some excellent work
on **Des Knaben Wunderhom"; wrote some of the best fairy
tales in German literature; discovered, in a sense, the beauties
of the Rhine; but despite all this it is impossible to vindicate
his life and works. He was fantastic, visionary, unstable, dis-
sipated, with all his talents. He is one of those unfortunate
poets whose life one tries to forget while reading his works.
At his death Diepenbrock said : ajJoge ®Dtt il^m ben grieben
fd^enfen, ben fein unru^tge§ ®emUt auf Srben nid^t finben
lonnte ; nid^t in ber ^oefie, nid^t in ber 2iebe unb Sreunbfd^aft
unb leiber felbft nid^t in ber Stettgion.
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THE WRITERS OF THE HEIDELBERG GROUP
BIBLIOGRAPHY
Siemens S3rentano§ gefamtnelte ©c^riften. Nine volumes in 5 parts,
Berlin, 1852-1855.
2)ie aKfird^en beS G^Ietneng Srentano. Edited by Guido Gorres, Stutt-
gart, 1879. Two volumes in i, contains i$Wldt(i)en and an introduction
of 40 pages.
Siemens Srentano ; ein SebenSbilb. By P. Johannes Baptista Diel,
S. J., and Wilhelm Kreiten, S. J., Freiburg i. B., 1878. An unwieldy book
of 1 01 3 pages.
@obn)i. Edited by Anselm Ruest, Berlin, 1906. 548 pp.
©obroi; ein ^apitel beutfd^er 3iomantif . By Alfred Kerr, Berlin, 1898.
136 pp.
2)ie SWard^en Siemens SrentanoS. By Hermann Cardauns, Koln,
1895. 116 pp.
©ntfte^ung unb Duetten ber SKSrc^en Siemens SrentanoS. By Otto
Bleich, Braunschweig, 1896. 54 pp. (In Archiv fur das Studium der
neueren Sprachen und Literaturen^ Vol. 50.)
©uftax) SBafa. Heilbronn, 1883. 136 pp. (In " Deutsche Literatur-
Denkmale des 18. und 19. Jahrhunderts," Vol. 15.)
Siemens SrentanoS Slpmanaen Dom Slofenfranj. Edited by Max
Morris, Berlin, 1903. 484 pp. (A very thorough study.)
SSaleria; ober SSaterlift. Edited by Reinhold Steig, Berlin, 1901. 119
pp. (The stage version of " Ponce de Leon.")
SrentanoS " Ponce de Leon "; eine ©afularftubie. By Gustav Roethe,
Berlin, 1901. 100 (quarto) pp.
Smmeric^sSrentano : Seiligfpreci^ung ber ftigmatifierten Slugufttncr^
S'lonne, 21. k, Smmerid^, unb beren filnfteS Soangelium nad^ Siemens
Srentano. By J. Rieks, Leipzig, 1904. 432 pp.
^aS §auS ber Srentano. By W. Miiller von Konigswinter. A novel
with Clemens Brentano as hero, 1873. 374 PP-
. READING LIST
180^ ©obnji, formless novel, 855 pp. (Includes many poems.)
1803. ^once be Seon, comedy, 278 pp.
1809. jlomanjen ©om Siofenfrang, epic, mystic, Catholic poem, 418 pp.
1815. 2)ie ©riinbung ^ragS, historic, romantic drama, 416 pp.
18 1 7. %\t me^reren SBe^miiller, story, 64 pp.
181 7. ©efc^ic^te t)om braoen ^afperl unb fd^bnen Slnnerl, story, 42 pp.
1818. 2luS ber S^romfa eineS fal^renben ©c^iilerS, story, 48 pp.
1838. ©odfel, gittfel unb SJadfeleia, story, 256 pp.
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OUTLINE OF GERMAN ROMANTICISM
LOUIS CHARLES ADELAIDE DE CHAMISSO DE
BONCOURT (Adelbert von Chamisso)
Bom January 30, 1781, at Schloss Boncourt, not far from
St. Menehould, in Champagne. Came of an old aristocratic
French family that was obliged to leave France because of the
Revolution (1789-92). His oldest known ancestor, Gerard de
Chamissot, is mentioned in a document of 1305. The family
came to Germany — (Liittich), Aachen, (The Hague), Dusseldorf,
Wiirzburg, Baireuth — finally to Berlin. Quiet and obedient as
a boy, fond of reading, not very happy. Made a page at the
Court of Queen Friederike Luise, received instruction in French
at the French gymnasium ^ became (March 31, 1798) ensign in
the regiment von Gotze, then lieutenant (January 24, 1801).
Used the French language for writing till 180 1. Family returned
to France, he himself was there on leave in 1 802-1 803. Studied,
while yet undecided, Voltaire, Diderot and especially Rousseau.
Returned to Germany, took up the serious study of German,
read Schiller, Klopstock, Luther and Kant. Read Shakespeare
in the translation of Eschenburg. Obliged to enter into active
military service in 1805, received a furlough after the capitula-
tion of Hameln (cf. ** Memoire iiber die Ereignisse bei der
Kapitulation von Hameln," 1806, three pages), went then to
France where he stayed till the Peace of Tilsit (July 7-9, 1807).
Returned to Germany, was with Fouqu^ at Nennhausen, with
Varnhagen at Hamburg ; then in Berlin, where he received his
honorable discharge from the army and again thought of studying.
Had a love affair with a widow, C^rbs Duvemay, that came to
an end in 1809. Received a call (1809) ^^ France as a professor,
went, found the position filled; returned to Germany and on
his way spent some time at Coppet with Madame de Stael and
A. W. Schlegel. Came then to Berlin and began the serious
study of natural science. Made a journey around the world
(July 15, i8i5-October3i, 18 18); Chamisso was the naturalist
of the party. His collections made on the journey were brought
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THE WRITERS OF THE HEIDELBERG GROUP
to Berlin, he was given the degree of doctor of philosophy, and
made custodian of the Botanical Garden in Berlin. Married
Antonie Piaste and became the father of seven children. Visited
France and received indemnity for the paternal property that
had been destroyed. Joined the " Mittwochsgesellschaft " in
Berlin, became coeditor with Schwab, and cotranslator with
Gaudy of B^ranger. Health failed after 1833, wife died in
1837. Began to write while quite young. Early poems show
but slight influence of Romanticism ; they are plastic and modem,
not moodful and Mediaeval. Set to music by Truhn, Schumann,
Silcher, Franz and Grieg. Wrote but little from 1815 to 1825.
Full of contrasts: French by birth, German by temperament.
United Gallic clarity and Teutonic humor in his works. Said
he was always the opposite of his immediate companions: a
Protestant among Catholics, a Catholic among Protestants. A
wholesome, manly character. Editor, translator, scientist, soldier,
an uncommonly likable man. A Romanticist in his day, a Realist
in the making. Made the terza rima popular in Germany, ©etn
ganjeS Seben manbelt fid^ ab mit ber ®efd^loffenl^eit etneg
gro^en Drgelpunfteg, ber in ber SuQ^nb einfe^t, im „©d^Ie^
mi^t" mit boHem SBer!e au§einanbertritt, auf ber SWittag^l^o^e
be§ £eben§ alle ©iffonanjen au^fd^eibet unb im Sllter mit mtU
bem SSerllarungSfd^immer au^tont. Died at Berlin, August 21,
1838.
BIBLIOGRAPHY
®§atnifJo3 gcfatntnelte SBcrfe. Edited by Max Koch, 4 volumes, no
year (Cotta), Stuttgart. Volume i contains biographical sketch, pages
9-62. (1883.) Convenient place to study Chamisso.
e^atnifJoS SBerfe. Edited by Oskar F. Walzel, D. N. L., Volume 148.
Biographical introduction, pages i-cxxii. (1892.) Contains poems, trans-
lations and " Schlemihl."
@§amif(o§ SBerfe. Edited by Max Sydow, Berlin, 191 2. Two vol-
umes, 5 parts. Introduction of 155 pages (Scbcn unb SBcrfc) and sep-
arate introductions. Most convenient place to read Chamisso.
Adelbert de Chamisso de Boncourt. By Xavier Brun, Lyon, 1896
371 pp. In French. The most elaborate study of Chamisso.
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OUTLINE OF GERMAN ROMANTICISM
©§amif(o unb feine 3ctt. By Karl Fulda, Leipzig, 1881. 274 pp.
Chamisso: Life; Poems; Faust; Schlemihl. By Eugene Oswald,
London, 1893. 35 pp. \vi Publications of English Goethe Society.
Sittcrarifc^c S^arafterbilber. By A. W. Ernst, Hamburg, 1895.
Chamisso, pages 27 to 51.
2Bte ©§amiffo cin 2)cutfcl^cr rourbc. By Dr. HUser, Halle, 1847.
24 (large) pp.
Slbelbert ©on S^amifjo al3 S'JaturforfclS^cr. By E. H. von Du Bois-
Reymond. Leipzig, 1889. 69 pp.
2)aS bbfe ^rinsip in ©oet^cg gauft unb S^antiffoS ©d^lemi^L By E.
Losch, Numberg, 1845. '4 PP- ^^ "Album des literarischen Vereins
in Niimberg."
6;§anttffo§ $etcr ^^\txci\\)\. By Julius Schapler, Deutsch-Krone,
1893- 45 PP-
S^amiffoS gauft unb $cter ©d^lcnti^l. By Franz Kern, in " Kleine
Schriften," Volume i, pages 92 to 118. Berlin, 1895.
3)cr §umor bet ©]^amtf[o. By Julius Schapler, Deutsch-Krone, 1897.
65 PP-
G^l^antifjog Oebid^tc. By Eduard Schubotz, Cassel, 1910. 127 pp.
gortunati OlUcffecfcl unb SBunfc^ptlcin. ©in ©picl, ©on 2lbclbert
©on G^^amiffo. Edited with notes, introduction, commentary, by E. F.
Kossmann, Stuttgart, 1895. ^ PP-
$ctcr ©d^lcmi^lS rounbcrfantc ©efd^id^tc. Miinchen, 1908. An ex-
tremely interesting edition. Contains numerous unique illustrations, and
is not expensive.
READING LIST
1806. SlbcIbcrtS gabcl, short story (first work), 6 pp.
18 1 4. $ctcr ©c^lcnti^lS rounberfamc ©efc^ic^tc, story, 75 pp.
1838. Q^ebic^te. Chamisso's poems, seventh edition, complete, Leipzig,
1843, 630 pp. This edition gives the dates of the individual
poems. Some of the best, and best known, are {^rauen^Siebe
unb =Scbcn (1830); SebcnSUcbcr unb sSBiibcr (1831); %qA
©c^lo^ Soncourt (1827) ; ©alaS 9 ®omcs (1829).
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THE WRITERS OF THE HEIDELBERG GROUP
JOSEPH KARL BENEDIKT, FREIHERR VON
EICHENDORFF
Bom March lo, 1788, at the Castle Lubowitz near Ratibor
in Upper Silesia. Family one of the oldest and noblest in
Germany. Grew up under uncommonly happy circumstances.
Had private tutors till 180 1. Attended with his brother Wilhelm
the Maria Magdalene gymnasium in Breslau from 1801 to 1804.
Attended the University of Breslau, 1804-05, the University of
Halle, 1805-06. Heard here Schleiermacher and Steffens, and
became acquainted with the literature of Tieck, Wackenroder,
Novalis. Visited during the vacation Claudius in Wandsbeck,
for whom he had great admiration. Spent the winter 1806-07
at home. Entered the University of Heidelberg in May, 1807.
Influenced by Amim and Brentano, and especially by Gorres
and Loeben. Began to write under the pen name " Florens."
Finished his studies at Heidelberg in 1808, went then to Paris
to study the collections. Returned by way of Heidelberg,
Niimberg, Regensburg, Wien, Lubowitz. Attended for a while
to the estate, wrote poems and part of " Ahnung und Gegen-
wart" — Dorothea Schlegel gave the novel this name. In
Berlin in 1809 he became more closely acquainted with Amim
and Brentano, met Adam Miiller and heard lectures by Fichte.
Went then to Wien to prepare for the Austrian civil service ; asso-
ciated with Dorothea and Friedrich Schlegel, Adam Miiller,
Gentz and Philipp Veit. Entered Liitzow's famous regiment in
18 13 when Friedrich Wilhelm III made his appeal to his people,
but never saw actual service. Retumed to Lubowitz, married
Luise Viktoria Larisch, to whom he had been engaged for
five years, and moved to Berlin. Entered the army again,
but arrived at Waterloo when the fighting was over and
entered Paris with the victorious troops. Retumed to Ger-
many and became referendary at Breslau in 18 16. Associated
with Friedrich von Raumer and Karl von Holtei. His father
died in 18 18. The family lost their Silesian property. In 18 19
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OUTLINE OF GERMAN ROMANTICISM
he passed with honor the state examination in Berlin, became
(1819) assistant to the Minister of Education, Catholic Commis-
sioner of Education at Danzig in 1820, Government Councillor
in 182 1, member of the East Prussian government in Konigs-
berg in 1824. In 1831 he was appointed Speaker of the
Ministry of Education in Berlin; associated with Savigny,
Raumer, Chamisso, Felix Mendelssohn. Received his honorable
dismissal in 1844, for religious reasons; lived then in Wien,
Kothen, Dresden, Berlin, Neisse. One of the most likable char-
acters in German literature. Valuable primarily as a lyric writer.
Songs have been set to music by Schumann, Franz, Mendels-
sohn, Gliick, Jensen, Curschmann, Bruch, L. Hess, Reinthaler,
Draseke, Herzogenberg, Kampf and Brahms. Though his
message was limited, it was sincere and inspired, so that he has
had an enormous influence on lyric poetry, an influence that
extends down to the present. He sang of longing, the forest,
mills, brooks, the fields, neglected gardens and lonely castles,
and the forest horn is one of his favorite accompaniments.
He represents the subdued, pensive, reflective, melancholy side
of nature; his attitude toward nature was that of a healthy
Romanticist ; he did not philosophize about it, he loved it
and glorified it in his poems. He drew much inspiration for
his songs from the situation at Lubowitz. As a dramatist he
is not to be taken seriously. His dramas are either literary
dramas, a dubious species, or historical dramas that grew
out of his antiquarian interests ; no one thinks of them in
connection with the stage. His long novel, "Ahnung und
Gegenwart," is full of Romantic unrealities. It pictures the
pious adventures of a soulful university graduate, who, after
happily withstanding a number of "temptations," ends in a
monastery. The novel shows the influence of that long series
of like tendency, "Wilhelm Meister," "Ofterdingen," " Florentin,"
" Titan," " Stembald." It contains some of his best lyrics.
Eichendorff not only acted the part of a Catholic, he was a
Catholic. And yet he held government positions in Protestant
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THE WRITERS OF THE HEIDELBERG GROUP
Prussia. His **' Taugenichts " and some of his lyrics will last
as long as anything else written by any Romanticist. He died
at St Rochus, near Neisse, November 26, 1857.
BIBLIOGRAPHY
©atntlic^c SBerfe bcS grei^errn 3ofep§ Don (Sid^enborff. ^iftorifc^s
fritifc^c Sluggabe, in 9Serbinbung ntit ^^iUip 2luguft Seder. Edited by
Wilhelm Kosch and August Sauer, Regensburg, no year. There are to.
be, apparently, 13 volumes in this edition, 4 of which have already
(1913) appeared: Volumes 10-13. This will be the monumental edition,
containing all the devices known to modern bookmaking.
Sofep^ gtei^erm d. ©id^enborffg SBerfe. Edited by Rudolf von Gott-
schall, 4 volumes in 2, Leipzig (Hesse), no year (recent). A superb
edition for popular purposes. Biographical introduction in Volume i,
pages I to 38. Contains practically all of Eichendorff' s pure literature.
The best cheap edition.
Sofep^ grei^erm Don ©id^cnborffS fdmtlid^e poetifc^e SBerfc. Four
volumes, Leipzig, 1883. Contains biographical sketch in Volume 4,
pages 421 to 607. Otherwise uncritical.
(Sic^enborffS SBerfe. Edited by Ludwig Krahe, 4 parts in 2 volumes,
Berlin (Bong), no year (recent). Contains biographical introduction,
pages i to xlvi, and separate introductions to the various works.
©ebic^tc Don Sofep^ grei^errn oon ©id^enborff. Edited with introduc-
tion and notes by O. Hellinghaus, Miinster, 1888. 380 pp.
2lu§ bem Seben eineS Xaugenic^tS. With 39 heliogravures after the
originals of Phillip Grot Johann and Edmund Kanoldt, Leipzig, no
year. 87 (quarto) pp.
^er beutfc^e 9{ontan beS ad^tje^nten 3(X§i^^unbertd in feinem %^exf)iiiU
ni^ jum S^dftentume. Paderborn, 1866. 458 pp. One of Eichendorff *s
various critical works.
3ofep§ Don ®i(^enborff. ©ein Seben unb feinc 3)icl^tungen. By Hein-
rich Keiter, Koln, 1887. 112 pp.
2)er iunqt (Sic^enborff. By H. A. KrUger, Leipzig, 1904. 172 pp.
Unterfuc^ungen ju @t(^enborffS Sloman Sl^nung unb ©egenroart. By
Konrad Weichberger, Jena. 1901. 44 pp.
Ungebrudfte S)icl^tungen ©ic^enborffg. By Friedrich Castelle, Miin-
ster, 1906. 137 (small) pp. Bibliography, pp. 134-137. Contains "Her-
mann und Thusnelda " and " Wider Willen."
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OUTLINE OF GERMAN ROMANTICISM
2lug 3. X). (gic^cnborffS bic^terifc^er grii^acit. (1810-1813.) By Ewald
Reinhard, Miinster. 62 pp. Bibliography, pp. 61-62.
©id^enborffS l^iftorifc^e 2:raucrfpiclc. By Julius Erdmann, Halle,
1908. 35 pp. (Teildruck.)
The Influence of the German Volkslied on Eichendorff*s Lyric. By
Jacob Harold Heinzelmann, Leipzig, 1910. 92 pp. Bibliography, pp.
90-92.
READING LIST
I811. SlJ^nung unb ©cgcnroart, novel, 250 pp. (Pagination, except for
dramas, after Hesse.)
18 1 7. S)ag aKartnorbilb, story, 33 pp.
1824. ^ricg ben ^^iliftern, dramatic fairy-tale in $ adventures (literary-
historical comedy), 78 pp.
1826. Slug bem Sebcn cincS 2:augcmcl^tS, story, 74 pp. (His most pop-
ular work.)
1827. aWeicrbetl^S ©liidf unb ®nbc, literary comedy, 55 pp.
1828. ©jelitt ©on Slomano, tragedy in $ acts, 200 pp.
. 1830. 2)er le^tc §c(b ©on SWarienburg, tragedy in 5 acts, 335 pp.
1832. aSicI Sdrmcn um S'lic^tg, story, 55 pp.
1833. 2)ie greier, comedy in 3 acts, 80 pp.
1834. 3)icl^ter unb \f)xe ©cfeKen, story, 186 pp.
1835. 6ine SWecrfal^rt, story, 50 pp.
1837. 2)a§ ©d^lo^ S)Uranbc, story, 32 pp.
1847. fiber bie ct^ifc^c unb rcUgidfc Scbcutung bcr neueren romanti*
fd^cn ^ocfte in 2)cutf(^lanb, critical work, 296 pp.
1857. ©ebid^te. Eichendorff's first poems appeared in Friedrich Ast*s
Zeitschrift fur Wissenschaft und Kunsi, 1808. Toward the
latter part of his life, when he was translating Calderon's
" Christian Dramas " and writing historical and critical works,
his lyric vein partly dried up. But during the earlier part of
his career, say up to 1837, his lyrics appeared frequently and
everywhere. Some of his best known ones are scattered
throughout his novels and novelettes. A very good collection
is in " Die Biicher der Rose " series, Leipzig, no year. The
book is edited by Wilhelm von Scholz, with vignettes and
42 pictures by Moritz von Schwind.
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THE WRITERS OF THE HEIDELBERG GROUP
JOHANN LUDWIG UHLAND
Bom April 26, 1787, at Tubingen. Came of an old family
that had long been connected in various ways with the univer-
sity of his home town. Inherited a sense of justice and inflexi-
bility from his father, fancifulness and soulfulness from his
mother. A brilliant boy, well educated, he entered the Univer-
sity of Tiibingen in 180 1 to study law, and studied there, until
1808, law and languages. Wrote poetry as early as 1800, and
read Saxo Grammaticus and the German " Heldenbuch " while
still young. Passed his doctor's examination April 5, 1810;
went then to Paris to study the code Napolkon^ stayed less than
a year and studied in addition to the code the manuscripts of
the Old French epics. Left Paris and returned to Tiibingen,
February 14, 181 1, to take up the practice of law. Became
acquainted with Gustav Schwab. Lived in Stuttgart from 181 1
to 1828, first as government secretary then as a lawyer. The
year 18 13 saw him in great trouble. On May 29, 1820, he was
happily married to Emilie Fischer. He returned to Tiibingen in
1830, where, excepting for various journeys, he lived the rest of
his life. Appointed professor of German at Tubingen in 1829.
His parents died in 1831. Resigned his professorship in 1833
for political reasons. A member of the Parliament of Wurttem-
berg from 1832 to 1838. Pursued Germanistic studies from
then on. Elected a delegate to the National Convention at
Frankfurt am Main in 1848 ; after the failure of this under-
taking retired forever from public life. One of the noblest men
Germany ever produced ; though awkward in appearance, his
soul was exalted, his mind trained and imaginative, his heart
pure and strong. Editor, lawyer, translator, scholar, a poet of
nature, the Classicist of Romanticism, a politician of the old
school. Not strong as a dramatist, the author of no epics, his
lyrics, ballads and romances enable him to be ranked with
Goethe. His poems have been set to music by Rubinstein,
Spohr, Gotz, Hauptmann, R. Strauss, Schubert, Kreutzer,
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OUTLINE OF GERMAN ROMANTICISM
Schumann, Raff, Bruch, Mendelssohn, Esser, Weingartner,
Loewe and Brahms. He wrote but few love poems ; poetized
nature, friendship, and, in an indirect way, events of the day.
The intellectual father of Swabian democracy, he refused orders
and distinctions of various sorts. His investigations along the
line of folk songs, the Old French Epics, and Walther von der
Vogelweide have not yet been superseded. Heine gave him a
high place among the Swabian poets, as well as among poets in
general; Goethe could never become enthusiastic over him,
except with regard to his ballads ; Lenau praised him ; all who
knew him respected him. Caught cold while attending the
funeral of Justinus Kemer, February, 1862, never recovered,
and died at Tubingen, November 13, 1862.
BIBLIOGRAPHY
Subroig U^lanbS Seben ; auS bcffcn Jla^ia^ unb au^ eigencr ©ritttte::
rung. By his widow, Stuttgart, 1874. 479 pp.
Ul^lanbS Sebctt: ein ©cbenfbud^ fiir baS beutfd^e aSolf. By Johannes
Gihr, Stuttgart, 1864. 381 pp.
Subroig Ul^lanb. ©ein Seben unb feinc 2)i(i^tun9ett. By Friedrich
Notter, Stuttgart, 1863. 452 pp.
Subroig U^lanb, feinc grcunbe unb S^xi^^no^tn. By Karl Mayer,
Stuttgart, 1867. 558 pp. Mayer was also a poet; the book contains
many letters and details about Uhland's circle.
Scitrfigc JU U^lanb. By Emst Brandes, Marienburg, 1892. 36 pp.
Subroig Ul^lanb. ®ine ©tubie ju feincr ©fifulatfcier. By Hermann
Fischer, Stuttgart, 1887. 199 pp.
Subroig U^lanb. ©inc ©fij^e. By Gustav Liebert, Hamburg, 1857.
85 pp.
3u Subroig U^IanbS ©ebad^tniS. By W. L. Holland, Leipzig, 1886.
102 pp.
U^lanbS gcfammeltc SBerfe. Edited with biographical introduction
by Hermann Fischer, Stuttgart, no year (1892), Cotta, 6 volumes.
U^lanbS 2Bctfc. Edited by Ludwig Frankel (Bibliographisches In-
stitut), Leipzig and Wien, no year (1893).
Subroig U^lanbS SBcrfe. Edited by H. Bromse, Berlin, 1913. Three
parts in i volume. The excellent edition of Bong & Co.
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THE WRITERS OF THE HEIDELBERG GROUP
U^lanb alS 2)ramatt!cr. By Adelbert von Keller, Stuttgart, 1877.
491 pp. An invaluable book for the study of Uhland as a dramatist
Contains, aside from Uhland's two completed dramas, the outlines, in
chronological order, of 26 dramatic fragments. " Benno," a tragedy, is
printed separately in Euphorion^ Band VI, Heft i, 1899.
Subroig Ul^lanb alS 2)icl^ter unb patriot. By Hermann Dederich,
Gotha, 1886. 163 pp.
©ebid^te oon Subrotg Ul^lanb. Edited by Erich Schmidt and Julius
Hartmann, Stuttgart, 1898. Two volumes ; first volume contains poems,
second notes. The best place to study Uhland's poems.
SubtDig Ul^Ianb. ^ie @ntn)icfelung beS S^riferd unb bie ©eneftd bed
©ebid^teS. By Hans Haag, Stuttgart, 1907. 118 pp.
U^lanb. Sid^tftra^Ien au3 feinen ^erfen, tnit einer biograp^ifd^en
S^araftcriftif. By Adolph Kohut, Dresden, 1887. 93 pp. (A good an-
thology.)
Xl^lanbS norbtfd^e ©tubten. By Wilhelm Moestur, Berlin, 1902. 64 pp.
U^lanb alS ^Olitifer. By Walther Reinohl, Tubingen, 191 1. 268 pp.
U^lanbS $Octif. By Gotthold Schmidt, Frankfurt, 1906. 83 pp.
U^lanb unb SRiiclert. .®in fritifd^cr SSerfud^. By Gustav Pfizer, Stutt-
gart, 1837. 70 pp.
liber U^lanbg ®mft oon ©d^roaben. By Heinrich Weisman, Frank-
furt am Main, 1863. 105 pp.
DueUenftubien ju U^IanbS Salloben. By Paul Eichholtz, Berlin, 1879.
120 pp.
U^lonbS 3:agbud^ (1810-1820). Edited by J. Hartmann, Stuttgart,
1898. 338 pp.
READING LIST
18 18. ®rnft, %tX}Siq, t)on ©d^roaben, drama, 157 pp.
1 81 9. Subroig ber Soier, drama, 121 pp.
1822. SJBalt^er »on ber ^Sogelroeibe, cin altbeutfd^er 2)id^ter, scholarly
and poetic treatise, 1 57 pp.
1862. ©ebid^te, dating back to 1800, about 300 pages. Poems went
through many editions; they are frequently printed in one
larger volume with the two dramas. There are numerous
school editions. They should be read in their entirety.
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SECTION VIII
THE SIDE LIGHTS
Strictly speaking, literary ** schools '' have not been
numerous in Germany. There have not been many in-
stances where a number of poets — more than two —
holding a common doctrine, accepting the same teachings,
exhibiting in practice the same general methods and intel-
lectual bent, have banded together and made propaganda
for a common cause. The very fact that a man is a poet
is proof positive that he is different from other men,
including other poets, and there never were even two
poets exactly or even nearly alike. To have a successful
school, there must be good teamwork ; and to have this, a
long series of similarities on the part of the participants
is necessary. We can speak of the First Silesian School
(1625-75), the Second Silesian School (1650-1700), the
©ottinger §ain (i 767-1 800), Storm and Stress (1767-
87), the Berlin-Jena Romantic School (i 798-1 801), the
Heidelberg Romantic School (1806-08) and Young Ger-
many (1830-48) with more or less propriety, and with
that the list of ** schools " is about complete. Goethe and
Schiller established a Classical School (i 794-1 805) at
Weimar only in the sense that they wrote poetry of a high
order, which found many imitators and many more readers
and admirers. But it is with a school as with a triangle,
or with jealousy : it requires three parts to complete it.
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THE SIDE LIGHTS
And then a school is unlike a triangle, or jealousy, in that
more than three parts will tend to make it more nearly
perfect, more enduring and effective.
In the case of the twenty-eight poets, grouped under this
rubric, we have to do with a number of men each one of
whom went his own way and accomplished something that
makes him unforgetable. They lived in the age of Roman-
ticism and were not merely influenced by it, they contributed
very largely to it. Indeed some of the very best works of
the period were written by these men, who, in default of a
better term, are called ** side lights." But to classify them,
or arrange them in schools, is neither possible nor desirable.
In a number of instances, they can be grouped according
to birth or tendency. Hauff, Morike, Schwab and Kemer
are the Swabians. Amdt, Schenkendorf and Komer are
the poets of the War of Liberation. Nestroy and Raimund
worked and played in Vienna. Grabbe was a broken
dramatist of some power, Kleist was a broken dramatist
of tremendous power. Freiligrath, Fallersleben, Herwegh,
Grun and Ruckert were political poets. We associate
Heine with Platen and Immermann because of their feud.
Schulze and Geibel wrote gentle poetry, and Halm wrote
ideal dramas. Stifter was bom in Bohemia, and Lenau in
Hungary, and both poetized nature ; Hoffmann is unclas-
sifiable for obvious reasons ; Alexis is a transferred and
Teutonized Walter Scott ; Wilhelm Miiller is allowed, by
reason of his very lyric genius, to stand more or less alone ;
Annette von Droste is poles removed from any of the
others ; Fouqud was a perfect gentleman ; and the vain
Waiblinger stands last in the list alphabetically and from
the standpoint of genius.
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OUTLINE OF GERMAN ROMANTICISM
Such grouping, however, is a matter of orientation, of
convenience. These writers cannot be classified. They
came from all parts of German-speaking Europe. It would
be difficult to find another group of poets so unlike. Think
of the contrast between Morike and E. T. A. Hoffmann,
Hauff and Grabbe, Schulze and Griin, Kemer and Platen,
Herwegh and Arndt, to say nothing of Korner ! And as
to age, Korner died when he was twenty-two, Hauff when
he was twenty-five, Waiblinger when he was twenty-six,
Arndt when he was ninety-one. Arndt was born in 1 769,
only two years later than A. W. Schlegel and W. v. Hum-
boldt, the oldest of the old Romanticists. Herwegh was
bom in 18 17, two years after the birth of Robert Franz,
four after the death of Korner and six after the death of
Kleist. Kleist died in 181 1, Geibel was still living in
1884. And as to what they did while they lived, there is
no space for a list of even the superficial things that differ-
ence any one of them from the others. They constitute a
class by themselves for the very reason that each one is
sui generis. They are arranged in this section in alpha-
betical order, the most attention being given to Heine first
and Kleist second.
GEORG WILHELM HEINRICH HARING
(WiLLiBALD Alexis)
Bom June 29, 1798, at Breslau. Father was director of the
Chancellery of War and Crown-Lands. The family emigrated
from France and was originally called Hareng. Attended the
Friedrich Werdersches gymnasium in Berlin, took part in the
campaign of 18 15, studied law at the universities of Berlin and
Breslau and became a lawyer in Berlin. Edited the Berliner
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THE SIDE LIGHTS
Konversationsblatt with Friedrich Forster from 1827 to 1830,
and then alone until 1835. Halle conferred on him the degree
of doctor of philosophy in 1828. After 1835 he unsuccessfully
went into various sorts of speculative business. Published with
Hitzig, from 1842 to 1862, " Der neue Pitaval," a collection of
criminal stories. Became involved in the Italian revolution of
1848. Left Berlin in 1852, retired permanently to Arnstadt in
Thiiringen, was paralyzed in 1856 and never recovered. A rest-
less individual, with no great store of thought but with great
ability to picture the small in historical fashion. His works on
Brandenburg influenced Fontane. Wrote some poems and short
stories, but known now only as a novelist. The " Walter Scott
of the Mark." His novels begin well and then decline in merit;
he allows his characters of the fifteenth and sixteenth centuries
to speak as if they lived in the nineteenth ; his works are archi-
tecturally weak ; he tries to make his characters too clever.
His works previous to 1830 are thoroughly Romantic; from
then on he wavered between the characteristics of Young Ger-
many and modem Realism. Died at Arnstadt, December 16,
1871.
BIBLIOGRAPHY
2BiUtbalb 2llcjiS'S Daterlanbifd^e Slomanc. Berlin, no year. Eight
volumes.
SfZcue S3ilbcr o,yx^ bem geiftigen Scben unferer 3eit. By Julian Schmidt,
Leipzig, 1873. Alexis, pages 76 to 148.
^©d^Iog 2l»aIon'', ber erftc ^iftorifd^e Slomon »on SSiHibalb 2llc£i§.
By Richard Fischer, Leipzig, 191 1. 103 pp.
READING LIST
1832. ©abaniS, novel, 712 pp.
1842. 2)cr Slolanb oon S3cr(in, novel, 520 pp.
1846. 2)ie §ofen bcS §crrn »on S3rebon), novel, 327 pp.
1852. Sluice ift bie crftc S3urgcrpfltc^t, novel, 782 pp. Title taken from
a remark made by the Minister, F. W. Schulenburg-Kehnert,
on the Monday after the battle of Jena.
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OUTLINE OF GERMAN ROMANTICISM
ERNST MORITZ ARNDT
Bom December 26, 1769, at Schoritz on the island of Riigen,
the son of a tenant and former serf. Learned to read from the
Pentateuch. Entered the gymnasium of Stralsund in 1787,
studied there two years, took then private lessons and entered
(1791) the University of Greifswald to study theology. Went
to Jena in 1793 and finished his course there. Returned home
in 1794, became a private tutor, from 1796 on in the home
of Kosegarten. Made (1798-99) a foot-tour through Austria,
Hungary, Italy, France, and Belgium. Received his master's
degree at Grief swald in 1800, became privatdozent in history,
an adjunkt in the faculty of philosophy in 1801, professor
extraordinary of history in 1806. Soon obliged to give up his
position, because of his book " Geist der Zeit," and flee from the
attacks of the French. Lived in Sweden from 1806 to 1809,
returned then to Germany under an assumed name, became
again professor of history at Greifswald. Resigned in 181 1,
went to St. Petersburg and worked for the good of Germany.
Published, after the War of Liberation, a newspaper at Koln ;
made professor of modem history at Bonn in 18 18. Was sus-
pected of demagogic tendencies in 1820, forced to resign in
1826. Lived in Bonn until 1840 as a private citizen, in that year
restored to his professorship by Friedrich Wilhelm IV. Elected a
member of the National Assembly in 1848, belonged to the
Hereditary Imperial Party. Resigned in 1849. Retired from
his professorship in 1854. Married Nanna Schleiermacher in
1 8 1 8. A staunch German patriot, an implacable foe of Napoleon.
Lyric writer, joumalist, teacher, historian, religious patriot. Not a
great master of form, but of wonderful skill in inspiring interest
in the cause of a united Germany. Not a Romanticist in the
ordinary sense. His three poems, S)er ®ott, ber Sifen tDad^fen
Iie§; S53a§ ift be§ SDeutfd^en SBaterlanb? and SBa§ blafen bie
J^rompeten ? as well known as any other poems of the period.
Died at Bonn, January 29, i860.
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THE SIDE LIGHTS
BIBLIOGRAPHY
@rinnctungcn aug bcm fiugercn Seben. Autobiographical material.
Appeared at Leipzig in 1840. 381 pages. Edited by Hugo Rosch,
Leipzig, 1892. Contains valuable esoteric details.
©rnft 3Jiori^ Slrnbtg Sebcn, 3:^aten unb 3Kcinungcn, nebft einigen
feiner geiftUd^en unb oatcrlfinbifc^en Sicbet. By Wilhelm Baur, Ham-
burg, 1882. 248 pp.
Slrnbt. By Paul Meinhold, Berlin, 1910. 253 pp.
®mft SKori^ 2lrnbt. ©cin Scbcn unb 2lrbcitcn fiir 2)eutfci^lanbS grcis
§eit, ®^rc, ©in^ctt unb ©roge. By Rudolf Thiele, Giitersloh, 1894.
210 pp.
2)er ^id^ter 2lmbt. By Georg Lange, Berlin, 1910. 62 pp. (Teildruck.)
Dissertation, valuable for Amdt*s predecessors, i.e. for those by whom
he was influenced.
READING LIST
18 18. ©eift ber 3^^^» prose sketches on the political situation in Ger-
many. Vol. I in 1807, Vol. 2 in 1809, Vol. 3 in 181 3 — all
directed against Napoleon; Vol. 4 in 18 18, against Germany's
own political and national lethargy. Next to Fichte's " Reden,"
the most patriotic writings inspired by the deeds of the time.
2053 pp.
i860, ©ebid^te, dating back to 1793, when his first poems appeared in
the Gottinger Musenalmanach. About 500 pages. Mostly
patriotic and war songs, some hymns (3c^ rocife, n)Oran td^
(^(xyx\it ; 2)id^, ©eift bcr SBa^r^eit ; 3c^ glaub' on bic^) and some
occasional poems.
ANNA ELISABETH FRANZISKA ADOLPHINE LUISE
MARIA, FREIIN VON DROSTE-HULSHOFF
Bom January 10, 1797, at Hiilshoff near Miinster in West-
phalia. Her father was gentle, cultured, soulful, a student of
nature, a man of broad reading. Her mother was clever and
orderly. Always weak, of strong imagination, an enormous
reader. Participated in the lessons given her brothers by tutors
and acquired in this way good mental training. Lived at various
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OUTLINE OF GERMAN ROMANTICISM
times, and in this order, at Miinster, Driburg, Koln, Bonn,
Riischhaus near Miinster, Eppishausen in the canton of Thur-
gau, Meersburg. Became acquainted with A. W. Schlegel, the
poet Wilhelm Smets, Simrock, Joseph von Lassberg, Levin
Schucking, Katharina Schiicking, Uhland, Schwab, the Boisse-
r^es, Fr. Schlegel, Johanna Schopenhauer and other prominent
figures of her time. Made contributions to Grimm's Sinber=
unb ^au3mar(^en. Brought up in rigidly Catholic surroundings.
The poetess of Westphalia, the greatest poetess of Germany.
Heine, Lenau, Laube and Gutzkow did not understand her.
Greatly admired by Detlev von Liliencron. Betty Paoli said of
her : 9luf bent ®ebiet ber 5poefie in metrif(^er gorm tt)eiJ5 id^
in ben mir jugdnglid^en Siteraturen feine %ravi, bie ber S)rofte
an bie ©eite ju ftellen mare. Her songs are not singable, they
are too strong, too thoughtful. She never borrowed from other
writers, though Scott and Byron influenced her, and she never
tried to be really musical. The most nearly unique character in
all German Romanticism. Levin Schiicking said of her: ©ic
toav, alle§ in allem genommen, bie SSerforperung ebelfter unb
reinfter grauennatur. She died at Meersburg, May 24, 1848.
BIBLIOGRAPHY
®ef ammelte ©d^riftcn oon 5Cnnette grciin oon 2)roftC'5ii(S^off . Edited
by Levin Schucking, Stuttgart, 1879, 3 volumes. The best place to read
her writings. A second, enlarged edition appeared in 1898. Introduc-
tion, Volume I, pages i to 52. Selected editions have also been published
by Hesse and Reclam.
Slnnettc t)on 2)rofte=§ii(81^off; t^rc bid^tcrifd^e (Sntroiclelung unb i^t
SScrpltnig jut englifd^en Siteratur. By Bertha Badt, Leipzig, 1909.
96 pp.
2)ie religibfc Sprif ber 2lnnette oon 2)rofte-§UlSl^off. By Arthur Bank-
witz, Berlin, 1899. 9^ PP-
2)ie Saaabented^ni! 2lnnettenS oon 2)roftes§iilSl^off. By Lothar
Boehme, in Euphorion^ Volume 14, 1907, pages 724 to 763.
2lnnette »on 2)rofte55iilS^off. By Hermann Graef, Leipzig, 1906.
45 PP-
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THE SIDE LIGHTS
Slnnette oon 2)roftc=§ulSl^off, 2)eutfcl^lanbS ^id^tcrin. By Leopold
Jacoby, Hamburg, 1890. 74 pp.
2)cutfci^e e^arafterc. By R. M. Meyer, pages 138 to 162.
2)ie religiofe 2r)v\t beS beutfc^en ^ot^olijigmuS in bcr erftcn §olfte
beS 19. Sa^r^unbertS, unter befonberer Sesuclfic^tigung 2lnnettenS »on
2)roftC. By August Weldemann, Leipzig, 191 1. 135 pp.
2lnttettcn8 oon 2)roftc=5uIg^op bromatifc^e Xdtigfett. By Martin
Kniepen, Miinster in Westfalen, 1910. 104 pp.
2lnnettc non ^roftc^gillS^off alS roeftp^alifd^e 2)icl^tenn. By Wilhelm
von Scholz, Miinchen, 1897. 47 pp.
READING LIST
1842. ^ic Subcttbud^e : cin ©ittengemfilbe au^ bem gebirgigtcn SBeft*
p^alcn, short story, 55 pp.
1848. ©ebic^te. Annette von Droste began to write poems when she
was twelve. It is here impossible to date them. As compiled in
the Schiicking edition, her poems fill 825 pages. She owed her
greatest success to the twelve entitled " Heidebilder " (1838),
37 pages. She wrote a romantic epic entitled "Walther,"
65 pages. Some of her best known long, narrative poems
are " Das Hospiz auf dem grossen St. Bernhard," " Des Arztes
Vermachtnis," " Die Schlacht im Loener Bruch," " Der Spiri-
tus Familiaris des Rosstauschers." ''Das geistliche Jahr" is
her best known collection, 186 pages. It is a collection of
poems for the various " sacred ** days of the year. She is also
the author of nine hymns, 20 pp.
AUGUST HEINRICH HOFFMANN VON FALLERSLEBEN
Bom April 2, 1798, at Fallersleben. Father a merchant.
Attended the preparatory schools of Fallersleben, Helmstedt,
and Braunschweig. Entered the University of Gottingen in
18 1 6 to study theology, but soon took up philology and archae-
ology. Met Jakob Grimm in Kassel, who drew his attention to
Germanics. Lived in Bonn from 1819 to 1821, from which
point he made various journeys to the Netherlands. Appointed
custodian of the university library at Breslau in 1823, professor
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OUTLINE OF GERMAN ROMANTICISM
extraordinary at Breslau in 1830, regular professor in 1835.
Discharged for political reasons in 1842, left Breslau in 1843
and wandered over Germany as a worthy martyr. After the
Revolution of 1848 he received a pension but not a position
in Prussia. Married his niece, Ida zum Berge, in 1849, ^^^ed
then in Bingerbriick, Neuwied and Weimar, where he published,
with Oskar Schade, the Weimarisches Jahrbuch fur deutsche
Sprache, Litteratur und Kunst, His wife died in i860. After
the discontinuance of the Jahrbuch, he became librarian of the
Duke of Ratibor at his Schloss Corvey on the Weser; lived
here till his death. Wrote much, about 187 separate works.
Did a great deal for the restoration and investigation of the
folk songs of Germany and the surrounding countries. Had
the popular, catchy lyric gift. Best known as the author of
S)eutf(^{anb, S)eutfd^tanb Uber alle§. Died at Corvey, Janu-
ary 19, 1874.
BIBLIOGRAPHY
3)^ein Seben. Six volumes in 3, Hannover, 1868. Autobiographical
and interesting.
Hoffmanns oon gatterSlcbcn gefammcUc SBcrfe. Eight volumes, ed-
ited by Heinrich Gerstenberg, Berlin, 1 890-1 893. Contains notes and
introductions, also an abridged edition of Hoffmann's 3Wein Se5en in the
last two volumes. 853 pp.
READING LIST
1840. UnpoKtifd^e Sicbcr (written out of the feeling of disappointment
at the reign of Friedrich Wilhelm IV, costing the poet his free-
dom), 204 pp.
1 841. UnpoUtifd^e Sicber, same as above, 202 pp.
1843. ^olitifd^e ©cbid^ auS ber beutfd^cn SSotaeit (anthology from
Walther, Freidank, Marner, Reinmar, Luther, Sachs, Alberus,
Waldis, Fischart, Ringwald, Opitz, Weckherlin, Czepko, Logau,
Rist), 286 pp.
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THE SIDE LIGHTS
FRIEDRICH HEINRICH KARL, FREIHERR DE LA
MOTTE FOUQUfi
Bom February 12, 1777, at Brandenburg an der Havel.
Grandson of the famous General Fouqu^ who served under
Frederick the Great, he came of an old French family that
emigrated to Germany for conscience' sake. He grew up at
Sakrow near Potsdam and Lenzke near Fehrbellin, at which
places he was instructed by private tutors, among others by
A. L. Hiilsen. Intended to study at Halle, but entered the army
in 1794 and took part in the Rhine campaign, during which he
met H. von Kleist. Married at Aschersleben while quite young
and was soon divorced. Met Goethe and Schiller at Weimar in
1802. In 1803 he married Caroline von Briest, the divorcee
of Von Rochow. Retired from the army and lived on his wife's
estate, Nennhausen near Rathenow. Entered the army again
in 18 13, rose rapidly and was discharged, on account of ill
health, with the rank of major. From 18 13 to 183 1 he lived
alternately at Nennhausen and in Berlin, writing with great
rapidity. His second wife died July 27, 1831, after which he
went, under economic pressure, to Halle, where he lectured on
poetry and history. Here he married his third wife, Albertine
Tode, also a writer. With time he became pietistically pessimis-
tic. Friedrich Wilhelm IV called him to Berlin in 1842, where
he lived the rest of his life. An extremely prolific writer, he is
the author of over a hundred works, of which only " Undine,"
and to a certain extent " Der Zauberring," still survive. The
public had little to do with him after 1820. Admired by Jean
Paul and introduced to the reading public by A. W. Schlegel,
he in turn did good service for some of the younger poets,
notably Immermann, with whom he broke after he had heard
of Immermann*s unritterli(^e§ 93etragen in connection with
the student fraternity at Halle. It is easy to think of him as
the opposite of E. T. A. Hoffmann. His ideals were faith, love,
honor, chivalry. He spent his life picturing duels, tournaments
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OUTLINE OF GERMAN ROMANTICISM
and adventures. But he was without ideas. His horses and the
armor of his knights received more attention than anything else.
He always prayed before beginning to write. Influenced in his
youth by Klopstock, Stolberg and Sined the Bard, he in turn
influenced Friedrich Kind, Theodor Hell and Graf Loeben. Poe
admired his " Undine." His works lack life. He drew his
material from many lands, paying little attention to historical
accuracy. Edited magazines and translated. S)er marfif(^e
S)i(^terfiirft, ber gefellf(j^aftti(^e 9KittcIpunft ber romantif(^en
©d^ute. Died at Berlin, January 23, 1843.
BIBLIOGRAPHY
5luSgcn)(i§Ite 2Berfc »on griebnd^ Saron be 2a SKotte gouquc. (SluS?
gabe letter ^anb.) Twelve volumes in 4 parts, Halle, 1841.
gouqu6. D. N. L., Volume 146 (II. i), biographical introduction by
Max Koch, pages i-cxxvi. Berlin and Stuttgart, no year (1893).
gouqu6, 2lpel, SKilti^. Seitrftge jur ©efc^id^te ber beutfd^en Slomantif.
By Otto Eduard Schmidt, Leipzig, 1908. 219 pp. Biography of Fouque,
pages 1-58.
JouqueS SBerfe. Edited by Walther Ziesemer, 3 parts in one volume,
Berlin (Bong), no year (recent).
SebenSgefd^id^tc bcS Saron griebnd^ be Sa SKotte gouqu^, aufgejeic^*
net burd^ i^n felbft. Halle, 1840. 368 pp.
fiber gouqueg Unbinc, nebft einem 2ln§ang ent^altenb gouqu^S
Dpernbid^tung Unbine. By Wilhelm Pfeiffer, Heidelberg, 1903. 169 pp.
gouqu^ olS ©rja^ler. gouqu^S ©tellung sum Slitterroman unb jur
Sflomantif. By Lothar Jeuthe, Breslau, 1910. 44 pp.
2)cr §elb beS SfZorbenS. By Max Kammerer, Rostock, 1909. 135 pp.
READING LIST
1808. 2)er 5elb beS S^orbenS, trilogy (©igurb, ber ©d^langentbbter; ^BU
gurbg ^a^e ; 2lSlauga) in dramatic form, 509 pp.
181 1. Unbine, fairy story, 90 pp.
181 3. 2)er S^uberring, novel, 620 pp.
1813. (Sebtd^te: ^riegSlieb filr bie freiroilltgen Sager; 9lac^ ber ©d^lac^t
oon ^ulm.
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THE SIDE LIGHTS
HERMANN FERDINAND FREILIGRATH
Bom June 17, 18 10, at Dctmold: His father a teacher. His
mother died when he was seven years old ; she had great influ-
ence on him by telling him stories from the Bible that gave him
inspiration for his Oriental pictures. Attended the gymnasium
at Detmold and was privately instructed and moulded by Clos-
termeier, the father-in-law of Grabbe. He became a merchant
in Soest (1826-183 1) and studied French and English on the
side; a bank-cl^rk in Amsterdam (1831-1836), during which
time he wrote a number of his best poems. Visited Schwaben,
went (1840) to Weimar, married Ida Melos in 184 1 and settled
down in Darmstadt. Friedrich Wilhelm IV gave him (1842) a
yearly pension of 300 thaler for his part in the restoration of
the Rolandsbogen, at least Freiligrath felt that this was the ex-
planation of the honor, though it was bestowed at the sugges-
tion of Alexander von Humboldt. Moved (1842) to St. Goar.
Hoffmann von Fallersleben first interested him in political poetry ;
he gave up his pension in 1844. Politically embarrassed, he
travelled through Switzerland and Belgium, went to London in
1846, but returned to Germany in 1848 and lived in Diisseldorf.
Imprisoned because of his poems (Aug. 29, 1848) he was re-
leased on October 3 of the same year and moved then to Bilk
near Diisseldorf. Again obliged to leave Germany, he went
(185 1 ) to London, where he remained until 1868. The London
firm for which he worked failed in 1867, Freiligrath was without
an income; German patriots presented him with a purse of
$45,000 on his return. From 1868 till his death he lived at
Cannstatt near Stuttgart. Editor, translator, business man,
patriot, lyric writer, he was one of Germany's truest friends;
his patriotism was without partisanship. He was acquainted
and friendly with Auerbach, Wolfgang Miiller, Geibel, Matze-
rath, Pfarrius, Hacklander, Simrock, Immermann, Uhland,
Kemer, Gotta, Schwab, Karl Mayer and others. He translated
Manzoni, Lamartine, Reboul, De Musset, Desbordes-Valmore,
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OUTLINE OF GERMAN ROMANTICISM
Barbier, Coleridge, Southey, Charles Lamb, Keats, Felicia
Hemans, Scott, Thomas Moore, Hood, Tennyson, Bums,
Longfellow, Harte, Hugo, Aldrich, Whitman and othei:s. One
of his best known statements is, J)er S)id^ter ^itfyi auf einer
^o^ern SSarte, aB auf ben Sinnen ber 5partei. Cortnected with
Romanticism by reason of his relations with other members
of the movement, his lyrics with their Oriental and tropical
pictures, his belief in a united German Empire, his subjectivity,
his translations, his revolutionary spirit, his attitude toward the
sea, his whole life. Died at Cannstatt, March i8, 1876.
BIBLIOGRAPHY
grcilicjrot^S SBcrfe in feeing ^eilen. Edited by Julius Schwering,
Berlin (Bong), no year (recent). Contains an introduction, pages i to
cxx, and all the other devices known to this excellent series.
gerbinanb greiligrot^. @in biograpl^ifci^eS 2)enfmo(. By Schmidt-
Weissenfels, Stuttgart, 1876. 120 pp.
gerbinanb greilicjrat^. (gin 2)icl^ter(eben in S3riefcn. By Wilhelm
Buchner, Lahr, 1882. 945 (large) pages, containing many valuable
letters.
2)eutfc^e (5^ara!tcrc. By Richard M. Meyer, Berlin, 1897. 280 pages.
Freiligrath, pages 163 to 177.
gerbinanb greiligrat^ ols politifd^er 2)icl^ter. By Anton Volbert,
Munster, 1907. 69 pp.
gerbinanb greiligrat^ in 2lmcrica. By M. D. Learned, in Americana
Germanica^ Volume i, number i, pages 54 to 73.
gcrbinanb greiligrot^g flbcrfe^ungen auS bcm ©ngltfd^cn im crftcn
Sa^l^ac^nt feineS ©c^affenS. By Wilhelm Erbach, Bonn, 1908. 137 pp.
gerbinanb greiligrat^S tlberfc^ungcn auS 33ictor gugo. By Ernst
Breitfeld, Plauen, 1896. 28 (quarto) pp.
READING LIST
1877. gerbinanb greiligcot^^ gefammcltc 2)icl^tungcn (dating back),
6 volumes in three. Freiligrath began to write poems (he
wrote nothing else) in his fifteenth year. Some of his best
known ones are 2KooS=3:^cc; 2B(ir' id^ im 93ann oon 3Weffa8
^oren ; 2)er Sllejanbriner ; Sotocnritt ; 2)cr Sicbc 2)aucr.
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THE SIDE LIGHTS
FRANZ EMANUEL AUGUST GEIBEL
Bom October i8, 1815, at Liibeck. Father a Reformed
pastor, mother of French emigrant stock. Attended the Katha-
rineum of Liibeck, entered (1835) the University of Bonn to
study theology and philology, the University of Berlin (1836)
to study philology only. Through the influence of his friend of
student days in Liibeck, Ernst Curtius, he received a position
as tutor in the house of the Russian ambassador, Katakazy, in
Athens in 1838, having been given in the meanwhile his doctor's
degree at Jena in absentia. Remained one year, then returned
to Liibeck and wrote poems. He accepted an invitation from
Freiherr Karl von der Malsburg to spend some time at his
Schloss Escheberg near Kassel. Friedrich Wilhelm IV gave him
(1842) an annual pension of 300 thaler. Spent the year 1843
at St. Goar with Freiligrath, at Weinsberg with J. Kerner, at
Stuttgart with Cotta. From 1844 to 1852 he went from place
to place, with Liibeck as his headquarters. Accepted in 1852
the call to Miinchen as honorary professor of literature. Married
(1852) Amanda Luise Trummer of Liibeck. A daughter was
bom in 1853, in 1855 his wife died. His Bavarian position
came to grief in 1868, when he greeted Friedrich Wilhelm IV
as the royal ancestor of united Germany. This resulted in his
leaving South Germany and making Liibeck his permanent
abode. He received the Schiller Prize for his " Sophonisbe " in
1869. His daughter married in 1872 ; this, connected with- his
illness, caused him to retire more and more from active life.
Began to publish poems when he was nineteen. A master of
form, sang of spring and love and patriotic, national themes
from 1840 to 187 1. Knew practically every contemporaneous
Romanticist. Was influenced by Walther von der Vogelweide,
Holderlin, Uhland, Eichendorff, Morike, J. D. Gries, Chamisso,
Lenau, Heine, Riickert, Platen. This and his own poetizing of
romantic themes connects him with the Romantic movement. The
youngest of the entire group, he died at Liibeck, April 6, 1884.
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BIBLIOGRAPHY
(SmanucI ©eibcl. By Karl Goedeke, Stuttgart, 1869. 366 pp. Pos-
sibly the most reliable source for a study of Geibel.
©manuci ©cibcl, auS ©rinncrungcn, Sriefcn unb Xagcbiidjcm. By
K. K. T. Litzmann, Berlin, 1887. 254 pp.
®manucl ®ei5cl, ©anger ber Sicbc, §eroIb bcS SicidJcS ; cin beutfdJcS
2)ic^terlcbcn. By K. T. Gadertz, Leipzig, 1897. 412 pp.
©manucl ©eibcl alS rcligiofcr 2)i(ijtcr. By H. Lindenberg, Liibeck,
1888. 35 pp.
Xxe mobcrnc SRibcIungcnbid^tung : ®cibcl, §cbbcl, Sorban. By Georg
Reinhard Rope, Hamburg, 1869. 224 pp.
(Smanucl ©cibcL (Sin ©cbcnfblatt. LUbeck, 1884. 50 pp. No name.
SSoUenbetc unb SWingcnbe. By Richard Maria Werner, Minden i. W.,
1900. 320 pp. Geibel, pages 39-64.
(Smanucl ®ctbelS gefammcltc SBcrlc. Eight volumes in 4, Stuttgart,
1893 (3d ed.).
©manucl ©cibciS S^ril auf i§rc bcutfd^cn 95orbi(bcr geprilft. By Fried-
rich Stichternath, Miinster i. W., 191 1. 146 pp. A valuable study.
(SmanucI ©eibciS Sugenblgrif. By Johannes Weigle, Marburg, 1910.
94 PP-
©manuel @eibel a(g ilberfe^er unb ^Zad^a^mer englifd^er ^id^tungen.
By Heinrich Volkenbom, Miinster, 191 o. 94 pp.
©manuel ©cibcl unb bic franadftfdjc S^rif . By M. D. Pradels, Miinster,
no year (recent).
READING LIST
1855. ^Jiciftcr Slnbrca, comedy in 2 acts, 75 pp.
1857. aSrun^ilb, tragedy in 5 acts, 166 pp.
1868. ©op^oniSbe, tragedy in 5 acts, 94 pp.
1884. ©cbic^tc, dating back to 1834, when he first published some of his
poems in the Musenaltnanach^ edited by Schwab and Chamisso.
His poems were in the 129th edition in 1902. Aside from the
three themes — love, nature, patriotism — he wrote on many other
topics, and translated, with Heinrich Leuthold, selections of the
French poets from the Revolution on. He translated also from
English and Spanish. Adolf Jensen (1827-1879) has set the follow-
ing lyrics to music : 2)crcinrt, ®cbanfc mcin ; 2)u fcud^tcr gtii^a
UngSabcnb ; Si^un bic ©d^atten bunfcln ; ^m ®cbirg ; D fc^ncHcr,
mcin Stof; ; ^Ungc, f (ingc, mcin ^anbcro ; Unb f d^lfifft bu, mcin
anabd^cn; SlmUfcrbcSgiuftcS. J.W. Lyra, Lachner, Franz, Rubin-
stein, Hiller and Brahms have also composed music for his songs.
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THE SIDE LIGHTS •
CHRISTIAN DIETRICH GRABBE
Bom December ii, 1801, at Detmold. Father a plain busi-
ness man, mother passionate, stubborn, rash. Studied (1820-
1822) law at Leipzig and led a wild life. Wrote "Gothland"
while there. Studied (1822) at Berlin, associated with E. T.
A. Hoffmann, Heine, Uechtritz. Called to Dresden by Tieck in
1823, passed his bar examination at Detmold in 1824, became
a lawyer without much practice. With the help of Klostermeier
he received (1827) a military position in Detmold. Married
Klostermeier's daughter Lucie in 1833. Marriage extremely
unhappy. She rejoiced at his death. Dismissed from his posi-
tion in 1834, went to Frankfurt am Main; associated with
Duller, his biographer, led a wild life. Immermann invited him
then to Diisseldorf, where he continued his dissipation. Re-
turned in 1836 to Detmold. Talented, especially along the line
of the drama; dissipated, intemperate, without character; a
strong opponent of the old Romanticists, influenced by Schiller ;
Goethe, Shakespeare, Byron. Gervinus said his dramas were
" senseless," Scherer said he was " foolish." Represents the
belated storm-and-stress phase of Romanticism. Died at Det-
mold, September 12, 1836.
BIBLIOGRAPHY
®rabbc'^ ^cbcn. By Eduard Duller, Diisseldorf, 1838. 91 pp. Unfair.
The same volume contains his unfinished drama "Die Hermanns-
schlacht," 139 pp.
a3eitrageaum©tubtum®ra55cS. ByC.A.Piper,Miinchen,i898. i45PP-
Seitrftge jur ^cnntniS ®rab5c3. By Oscar Blumenthal, Berlin, 1875.
44 pp.
©rabbc alS ajlcnfd^ unb 3)tcl^tcr. By Arthur Ploch, Halle, 1904. 71 pp.
®rabbcS 95cr§ciItmS JU ©l^alcfpcarc. By Hermann Bartmann, Miin-
ster, 1908. 50 pp.
Shakespeare's Influence upon Grabbe. By Horace Lind Hoch, Phil-
adelphia, 191 1. 75 pp.
e^tift. 2)ictr. ©rabbc'S fcimmtUc^e SBerfc. Edited by Oscar Blumen-
thal, 4 volumes, Detmold, 1874. Contains notes.
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OUTLINE OF GERMAN ROMANTICISM
READING LIST
1822. ^erjog Xl^cobor won ®ot§(anb, tragedy in 5 acts, 315 pp.
1822. ©c^cra, ©atire, Sronie unb tieferc SBebcutung, comedy in 3 acts,
100 pp.
1827. 3)on 3uan unb gauft, tragedy in 4 acts, 153 pp.
1827. Slbi^anblung ilber bie @§afefpearomame, 40 pp.
1829. ^aifcr gtiebric^ 93arbaroffa, tragedy in 5 acts, 210 pp.
1830. ^aifcr ^cinric^ bcr ©ec^fte, tragedy in 5 acts, 252 pp.
1 83 1. 9iapo(con ober bie ^unbcrt Xage, drama in 5 acts, 256 pp.
1835. 2lfc§enbrobcI, dramatic fairy tale, 85 pp.
ANTON ALEXANDER, GRAF VON AUERSPERG
(Anastasius GrCn)
Bom April 11, 1806, at Laibach in Krain. Came of one of
the oldest families of the Austrian nobility. " Anastasius " means
'resurrected,' while green is the color of hope. Passed his
childhood at the paternal estate, Thum am Hart, in Unterkrain ;
entered (18 13) the Theresianum in Wien and then the academy
for engineers. His father died in 1816 ; he then studied law and
philosophy at the universities of Graz and Wien, spent some
time in travelling, took over the management of his estate in
1831 ; made a journey in 1837 through France, Belgium and
Holland ; married Countess Attems in 1839 and lived from that
time principally on his estate. Elected a member of the Frankfurt
Parliament in 1848 and then of the National Assembly, from
which he soon resigned. Entered politics again in i860 and
worked for all that was German. He was made a ©e^eimrat
in 1863, honorary citizen of Wien in 1864, honorary doctor of
the University of Wien in 1865, president of the delegates of
the Imperial Parliament in 1868. Showed even as a boy signs
of extreme love of freedom. Belongs to the Austrian group of
political poets to which belonged Karl Beck (1817-1879),
Moritz Hautpmann (1821-1872) and Alfred Meissner (1822-
1885). Associated with Lenau as we associate Byron with
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THE SIDE LIGHTS
Shelley, Schiller with Goethe, and Uhland with Schwab. Con-
nected with Romanticism by his persistent and fearless opposi-
tion to Mettemich, his glorification of old German heroes,
notably Maximilian I, his belief in the " good old time," and his
language, which abounds in contrasts, hyperboles and florid
figures. Wrote but little ; his poetry, generally in trochaics, is
the poetry of reflection and portrayal rather than of creation and
narration. Grillparzer said of him : gr tDei§ ganj mo^I ju biU
bern, allein ju bitben nidit. Translated the English" Robin Hood
Ballads" and the Slavic "Volkslieder aus Krain." Died at
Graz, September 12, 1876.
BIBLIOGRAPHY
SlnaftafiuS ®vm^ famtlic^e SBcrfe. Edited by Anton Schlosser, Leip-
zig, no year (1906). Ten volumes in 2, complete. Contains biographical
introduction, Vol. i, pages i to 193, also individual introductions to sep-
arate works, and elaborate bibliography, pages 194 to 200.
SlnaftafiuS ®rUn. SScrfc^oUencS unb S5crgiI5te3 auS bcffcn Scben unb
SBirfcn. By P. v. Radies, Leipzig, 1879. 200 pp.
SlnaftafiuS ©riin unb Si^ifoIauS Scnau. By Johannes Proelss, in
Deutsche Rundschau^ Volume CXXVI, 1906, pages 84 to 107. Con-
tains a good deal of important material for a study of the mutual relation
of the two poets.
READING LIST
1830. 2)cr Ic^tC Slitter (Maximilian I), cycle of romances in the Nibe-
lungen verse form, no pp.
^ 1831. ©pajiergcingc cinc^ SBicncr ^octen, in verse, 50 pp.
^835- ©d^utt, in verse, 100 pp. Supposed to be his best work; shows
how the rubbish of the past enriches the soil of the future.
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ELIGIUS FRANZ JOSEF, FREIHERR VON MUNCH-
BELLINGHAUSEN (Friedrich Halm)
Bom April 2, 1806, at Krakau, the son of a high official
Studied law and philosophy, at Briinn and Wien. Married in
1826 Sophie von Schloissnigg. His wife became chronically ill
soon after the marriage ; Halm entered into a long, honorable
friendship with the famous actress Julie Rettich (died 1866).
Lived an extremely successful life. Became councillor in 1840,
custodian of the Court Library at Wien in 1845, "member of the
Imperial Academy of Science at Wien in 1847, elected to the
Austrian House of Lords in 186 1, made general intendant of
the Court Theatres at Wien in 1867. Yet, like Grillparzer and
Stifter, he suffered from moods, melancholy, sensitiveness and
sickness. Not happy as a poet, since he wrote not to make a
confession, but to present an artistic picture. More successful in
his day than Grillparzer or Hebbel. Wrote many poems, but
few good ones. Brought Romanticism into the drama. It has
been said that he succeeded because of the weakness of his
opponents. Did good work along the line of the Spanish drama.
Never became really popular. Died at Wien, May 22, 187 1.
BIBLIOGRAPHY
gdebridj ^almd SBerfc. Wien, 1856-1872. Twelve volumes in 4.
No introduction.
gricbridj ^alm unb baS fpanifc^c 2)rama. By Hermann Schneider,
Berlin, 1909. 258 pp.
fiber ^almS S^amocnS. By Ludwig Scharf, Braunschweig, 1882.
In " Studien und Skizzen," pages 50 to 62.
aWUnc^sSJcUing^auf en. By Anton Schonbach, " AUgemeine Deutsche
Biographie," Volume 22, pages 718-725. 1885.
READING LIST
1835. ©rifclbiS, dramatic poem in 5 acts, 144 pp.
1837. SamocnS, dramatic poem in one act, 40 pp.
1842. 2)er ©0§n bet SBilbnifl, dramatic poem in 5 acts, 180 pp.
1854. 2)er gcd^tet won Stawenna, tragedy in 5 acts, 145 pp-
1864. 2)aS §auS an ber SScronabriidte, prose tale, 162 pp.
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THE SIDE LIGHTS
WILHELM HAUFF
Bom November 29, 1802, at Stuttgart. His father, a gov-
ernment official at Tubingen and Stuttgart, died in 1809. Lived
then at the home of his maternal grandmother in Tubingen;
entered the cloister school at Blaubeuren in 18 18, the Protestant
Seminary at Tubingen in 1820, an institution founded by Ulrich
von Wiirttemberg in 1536 ; took his doctor's degree in theology
(Oct. 27, 1824) ; became private tutor to the children of Baron
von Hiigel in Stuttgart, where he remained over a year. In
1826 he made a tour through Europe, visiting France, Belgium
and North Germany. His " Mann im Monde " involved him in
a lawsuit with Clauren, which he legally lost but which brought
him to the attention of the public through his " Kontrovers-
predigt," in which he annihilated Clauren from the literary
point of view. In 1827 he became editor of the Cottasches
Morgenblatt, married his cousin (Feb. 13, 1827) and settied
down in Stuttgart with apparentiy a long life of usefulness
before him. Inherited his literary inspiration from his mother, a
woman of keen intellect and fertile imagination. Studied the-
ology in the same institution through which Hegel, Holderlin,
Schelling and other distinguished men had passed ; was a pro-
digious reader and prolific writer, a bom story-teller ; a dreamy,
not robust, yet exuberant, youth ; personally acquainted with the
literary men of his day, sure of a place in the affectionate
memory of all Swabians. His daughter died in 1844, his widow
in 1867, he himself at Stuttgart, November 18, 1827.
BIBLIOGRAPHY
SB. §aup fammtlid^e ©c^riften. Edited by Gustav Schwab, Stutt-
gart, 1830. Thirty-six small volumes in 12 parts, introduction in Volume
I, pages 1-52.
2Bi(§c(m Sauff . Edited by Felix Bobertag, D. N. L., Volumes 1 56, 1 57,
158(1), 158(2). The best edition, contains general andspecial introductions.
§auffg famtlic^e SBerfc. Edited by Ad. Stern, 6 volumes, Leipzig, no
year. Contains introduction, illustration, facsimile. (MaxHessesVerlag.)
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OUTLINE OF GERMAN ROMANTICISM
READING LIST
1826. Sid^tcnftcin, romantifc^e ©age au^ bee tDurttcmbergifd^cn ©e^
fc^ic^tc, 351 pp. Shows influence of Scott, Fouqu^, Wieland.
His main work.
1827. ^^antaften im S3remer StatSfeUer, fantastic tale, recalling Heine
and Hoffmann, 46 pp.
1827. ^er 2Wann im 3Konbe, outlined in 1823, a satire on Clauren,
197 pp.
1827. 3)cr Smex% ^a]t (one of the " Marchen fiir Sohne und Tochter
gebildeter Stande "), 27 pp.
1827. 2)aS faltc ^erj (one of the " Marchen "), 60 pp.
1827. ©ebic^te, dating back, 35 pp. Two of his best known poems are
3Wocgenrot; @te^' ic§ in finftrer 5Witternac§t. The former is
based on a folk song and has in turn become one.
CHAJJIM HARRY HEINE
Heinrich Heine was bom at Diisseldorf, December 13, 1797.
His father, Samson Heine, was a practical merchant ; his mother,
Elisabeth van Geldem, a woman of imagination and instinctive
feeling for poetry. After attending the lyceum at Diisseldorf
from 1808 to 18 1 5, he was placed in the office of a banker in
Frankfurt am Main, and in 18 16 he entered into partnership
with his uncle, Salomon Heine, in Hamburg. The firm was
closed in 18 19. In the fall of the same year he entered the
University of Bonn to study law, his uncle supporting him. He
joined a 93urf(i)enf(i)aft ; heard lectures by A. W. Schlegel, whom
he at first loudly praised and then ridiculed — one of the first
exemplifications of that instability of character that he was so fre-
quently to betray in later life. In 1820 he entered the Univer-
sity of Gottingen, from which he was suspended on January 23,
182 1, for reasons that have never been definitely agreed upon
by his biographers. He then continued his studies in Berlin,
where he frequented the brilliant salon of Rahel Lewin, and
associated with Grabbe and others of doubtful influence. It was
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here that he published in 1822 his first volume of poems. In
1823 we find him in various places on various missions —
Liineburg, Kuxhaven, Hamburg and Berlin. In 1824 he
matriculated again at Gottingen ; made a journey in the mean-
while through the Harz Mountains and Thuringia, on which he
met Goethe ; and took his doctor's degree in law at Gottingen
on July 20, 1825, having already joined the Christian Church
on June 20, 1825, taking the name of Christian Johann Hein-
rich Heine. After visiting Nordemey in 1826 and England in
1827, he became coeditor in Miinchen with F. Lindner of the
Neue Allgemeine Politische Annalen, in which position he praised
and flattered the Minister Schenk, the poet Beer and King Lud-
wig, but nothing came of it. From Miinchen he went to Italy,
returned to Germany, lived a short while in Berlin and Hamburg
and then went, in 1831, to Paris, never permanently to return.
From 1834 on he associated with Eugenie Mirat, a woman of
no culture, and married her in 1841. He drew a pension of
4800 francs from the French government, and one of nearly
equal amount from his uncle, although the legality of both has
been seriously questioned. In 1843 «^^^ 1^44 ^^ returned
to Germany without exciting any great sensation or sympathy.
In 1845 ^^ began to suffer from tuberculosis of the spinal
column, an affliction which tied him to his " mattress grave " in
1848 and from which he was never able to rise. He died at
Paris, February 17, 1856.
The one conspicuous Hebrew in the Romantic School, Heine
holds a unique position, so unique that to appraise his worth it
is necessary to set up new canons. There is no character in all
German literature about whom there exist such contradictory
opinions. He has been lauded as an Achilles by his friends and
condemned as a Thersites by his enemies. Morike said of him :
®r ift ein S)i(i)ter ganj unb gar, abet id) mbd^te nidit eine
©tunbe mit i^m leben. He had but one permanent friend,
Immermann, and there is room for doubt as to the sacredness of
even this friendship. He had, however, many open foes —
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OUTLINE OF GERMAN ROMANTICISM
Platen, Borne, Menzel. His own admiration for Napoleon is
explicable if not excusable in view of the fact that Napoleon
liberated the Jews in Diisseldorf . A doubter himself from child-
hood, even as to the year of his birth, a great deal of his life is
shrouded in mystery. His love affairs with his cousins Amalie
and Therese Heine have never been definitively cleared up. His
relation to Camille Selden, who was with him in his last years,
is also a matter of conjecture. He delighted in beclouding the
issue — it is never possible to say where he stands, even in
poetry. He was primarily a first-class lyric writer and a high-
class journalist, and that about covers his merits. He was not a
man of great genius, but of wonderful, almost unequaled, talent.
What he did he did with efficiency ; as a cynic and satirist and
vilifier, Germany has not produced his peer. His insincerity
was equally remarkable. He derived great help from Roman-
ticism and then poked all sorts of fun at it. He learned from
the folk songs, from Tieck, Eichendorff, Uhland, Brentano and
Wilhelm Miiller, and then was always ready to come up" against
them with some sarcastic remark that makes good reading. He
was the first German to make happy use of the sea in poetry ;
by his " Reisebilder " he started the Germans on hitherto un-
trodden paths; by \iis feuilietons (1830-40) he introduced a
form that has ever since found favor ; in his " Lieder " he sang
of unrequited love as only he could sing ; by his general influ-
ence Gaudy, Dingelstedt, Baumbach, Scheffel and Grisebach are
different from what they would have been. His talent was
vastly superior to his character. He had just cause for a grudge
against Germany, but so had many others who expressed it in
better form than he — Gutzkow, Platen, Uhland. As a drama-
tist he had no ability at all, yet he thought he had. Heine is
Germany's one statueless and monumentiess poet, despite the
fact that German literature is indebted to him for three great
services : the breaking away from Mediaeval-Catholic Romanti-
cism, the giving up of formlessness and the synchronous intro-
duction of plasticity, and the interweaving of modem life into
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THE SIDE LIGHTS
modem literature. But if Germany has turned a cold shoulder
on Heine, the outside world has not. As in the case of Goethe,
Hoffmann, Hauptmann and Nietzsche, the other great nations
have studied him in detail. Germany has studied him without
awarding him external honors.
BIBLIOGRAPHY
Scinnd^ fpcineS gcf ammeltc SBcrfc. Edited by Gustav Karpeles, Berlin,
1887. Nine volumes, critical.
ScinridJ f&eincS fdmtlic^C SGBcrlc. Edited by Ernst Elster, Leipzig and
Wien (Bibliographisches Institut), 7 volumes, no year (1887-1890). The
best place to read Heine. Contains notes, facsimiles, biographical in-
troduction, variants and all the other devices known to modern editing.
The Walzel edition will hardly supersede this one,
ScinridJ ^cincS f clmtUc^c SBerf e. Edited by Stephan Bom, 1 2 volumes,
Stuttgart, no year (1887 ff.).
Scinrid^ §cincS famtlic^e SBcrfc. Edited by Oskar Walzel, assisted
by Jonas Frankel, Ludwig Krahe, Albert Litzmann, Julius Petersen.
(Insel Verlag.) Not yet (1914) complete ; has been much heralded.
Heinrich Heine's Works. Translated by C. G. Leland, New York,
1906. Twelve volumes.
^cindd^ ^cincS 2)t(ijtungcn auSgcroa^lt unb crlautcrt. By Karl Hessel,
Bonn, 1887. 349 pp.
The Prose Writings of Heinrich Heine. Edited with an introduction
by Havelock Ellis, London, 1887. 327 pp.
^cincS Slutobiograp^ie, nac§ feinen ^crfen, S3dcfcn unb ©cfprSc^en.
By Gustav Karpeles, Berlin, 1888. 586 pp. This work was translated
by Arthur Dexter and published by Henry Holt and Company, New
York, 1893. 375 pp.
5cinri4 ^^xm^ gamilicnlcben. By his nephew, Ludwig von Embden,
Hamburg, 1892. 344 pp. Contains 122 letters.
§cittC!8 SiebcSlcbcn. By Max Kaufmann, Ziirich, 1897. 135 pp.
©rinncrungen an ^einrid^ §eine unb feine gamilic. By his brother,
Maximilian Heine, Berlin, 1868. 247 pp.
2luS bcm Scbcn ^einrid^ §cine§. By Hermann HUffer, Berlin, 1878.
181 pp.
§etnnc^ §cinc. ©rtnncrungcn auS ben (e^ten jroan^ig Sal^rcn fcineS
ScbcnS. By M"»e Caroline Jaubert, translated by L. Welter, Paris and
Leipzig, 1884. 93 PP-
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OUTLINE OF GERMAN ROMANTICISM
Scinnd^ petite : 2luS fcincm Scbcn unb auS fcincr gcit. By Gustav
Karpeles, Leipzig, 1899. 347 pp.
^einridj §cinc : @etn Scbcn, f ein ©i^arafter unb fcinc SGBcrfc barges
ftcUt. By Heinrich Keiter, Koln, 1891. 127 pp.
^eindd^ §cinc : ©rinnerungcn. By Alfred Meissner, Hamburg, 1856.
266 pp.
ScinridJ §einc : ©ein SebenSgang unb f eine ©c^riften. By K. R. ProUs,
Stuttgart, 1886. 393 pp.
^einnd^ §etneS ^ranfl^eit unb SeibenSgefdJidJte. By S. Rahmer, Ber-
lin, 1902. 81 pp.
©rinncrungen an ^einric^ §eine. By his niece, Maria Embden-Heine,
Princessa della Rocca, Hamburg, 1881. 156 pp.
^cinridj 5einc!8 le^te Xage. From the French of Camille Selden,
Jena, 1884. 104 pp.
Subroig S3drne unb ^einrid^ §etne. By G. M. C. Brandes, Leipzig,
1898 (2d ed.). 190 pp.
^einrid^ §eine unb feine 3ettgenof[en. By Gustav Karpeles, Berlin,
1888. 345 pp.
fpeineg S^araltcr unb bie mobemc ©eele. By Max Kaufmann,
Ziirich, i9oi2. no pp.
^einrid^ §etne unb bie grauen. By Adolph Kohut, Berlin, 1888.
352 pp.
§einridj §eine alS 2)tc§ter unb 3Wenfd^. By Max Nietzki, Berlin,
1895. 170 pp.
Henri Heine : Penseur. By Henri Lichtenberger, Paris, 1905. 250 pp.
Portraits et souvenirs litteraires. By Theophile Gautier, Paris, 1892.
Heine, pages 103-128.
The Life, Works and Opinions of Heinrich Heine. By William
Stigand, New York, 1880. Two volumes ; the work has been unfavor-
ably received.
SeinridJ §eineS Seben unb SBerfe. By Adolf Strodtmann, Hamburg,
1884. 1 172 pp.
Life of Heinrich Heine. By William Sharp, London, 1888. An ex-
cellent popular treatise. Contains an elaborate bibliography compiled by
John P. Anderson of the British Museum.
§. §eineS ^Sud^ ber Sieber'' unb fein 95er§(iltniS jum beutf d^en SSolfS*
lieb. By Robert Gotze, Halle, 1895. 47 PP-
The Personal and Literary Relations of Heinrich Heine to Karl
Immermann. By Grace Mabel Bacon, University of Michigan, 1910.
97 pp.
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Scinrid^ ^cincg SSetl^altnig jur 3le(tgton. By A. C. Kalischer, Dresden,
1890. 72 pp.
^cinrid^ §ctnc^ SScr^altnig gu Sorb SB^ron. By Felix Melchior, Berlin,
1903. 169 pp.
2)ic Slufnal^mc Sorb Strong in 2)cutfcl^Ianb unb fcin ©influg auf ben
jungcn §einc. By Wilhelm Ochsenbein, Bern, 1905. 228 pp.
§cinc3 SJerl^ftltniS ju ©l^afcfpcarc. By Ernst August Schalles, Berlin,
1904. 68 pp.
^einridj §cincS 33eaicl^ungctt jum bcuifd^en 3Kittcla(ter. By Georg
Miicke, Berlin, 1908. 48 pp.
^cinrid^ §cinc unb bic 93i5cl. By Heinrich Reu, Miinchen, 1909.
39 (large) pp.
2)ic bid^terifd^e ©pradjc in ^eineS ^Sud^ bcr Sicber''. By Max Seelig,
Halle, 1 89 1, no pp.
^cinrid^ Seine unb ber 5la5M non Sac^aratiJ. By Gustav Karpeles,
Wien, 1895. 64 pp.
2)er 2)i^ter beg Stomanjero. By R. M. Meyer, in " Gestalten und Pro-
bleme," 1905. Pages 1 51-163.
fiber platens bic^terifc^e Sebeutung mit befonbcrer Sejic^ung auf
Seines Urteil in ben Sleifebilbern. By Franz Kern, in ** Kleipe Schrif-
ten," 1895. Volume i, pages 164-185.
Seinric^ ^txne^ gragment „^et diabbi non 93ad^arad^^. By Lion
Feuchtwanger, Miinchen, 1907. 116 pp.
Unterfud^ung jur ^eurteilung beg iungen ^eme unb feiner ^ic^tung.
By Paul Beyer, Berlin, 191 1. 84 pp.
fiber bag SBefen ber Seine 'fc^en 2)id^tung. By Ernst Gnad, in "Lit
terarische Essays," Wien, 1891. 34 pp.
Scinric^ ^exne. By Matthew Arnold, in " Essays in Criticism." 37 pp.
Seine unb fein 2Bi^. By Erich Eckertz, Berlin, 1908. 196 pp.
German Wit : Heinrich Heine. By George Eliot, in her " Essays,"
1885. 53 pp.
2)ie franjbftfd^c Sitteratur im Urteile ScinridJ ^e\nt^» By L. P. Betz,
Berlin, 1897. 67 pp.
Seinric^ Seine: 2lud^ ein 3)enfmaL By Adolf Bartels, Dresden, 1906.
375 PP-
Seinrid^ Seine unb 2ltfreb be 3Kuffet : ®ine biograp§ifd^=Utterarifd^e
^araHele. By L. P. Betz, Ziirich, 1897. 117 pp.
fiber bie noIfStilmlid^en ®Iementc in ben ©ebid^ten S^ineS. By Au-
gust Walther Fischer, Berlin, 1905. 150 pp.
Seines ©eburtStag. By K. E. Franzos, Berlin, 1900. 32 pp.
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OUTLINE OF GERMAN ROMANTICISM
^cinridj §cinc unb baS bcutfdjc S3o(!Slicb. By R. H. Greinz, Neu-
wied, 1894. 96 pp.
Henri Heine, Po^te. By Jules Legras, Paris, 1897. 438 pp.
3u ©cineS-SSallabcn unb Slomanjcn. By Oskar Netolizka, Kronstadt,
1891. 31 pp.
liber bic ©infliiflc bet Slomantil auf §einncl^ §eine. By Theodor
Odinga, Leipzig, 1891. 26 pp.
2)ie freien Sfl^^t^men in fpcineS SRorbfeebilbern. By Paul Remer,
Heidelberg, 1889. 56 pp.
Heine and Tennyson : an Essay in Comparative Criticism. By C. W.
Stark, in " Haverford Essays," 1909. 29 pp.
^einrid^ Seincg SBirfen unb ©treben. By Adolf Strodtmann, Ham-
burg, 1857. 142 pp.
Seined ©influg auf ©dJeffelS 2)icl^tungcn. By W. C. SUdel, Leipzig,
1898. 59 pp.
2)cr ©til bet ^einefdjen Sugenbprofa. By Max Ebert, Berlin, 1903.
56 pp.
ttbet ben ©ebraud^ bed 9ein)0tteS in ^eineS ©ebid^ten. By James
Album Chiles, University of Illinois, 1908. 112 pp.
§eine unb 3)iif[eIbotf. By Eugen Moos, Marburg, 1908. 80 pp.
2)ic ^etfonenfd^ilberung in §eineS joumaliftifd^en Serid^tcn. By
Walther Bloemertz, Dusseldorf, 1909. 70 pp.
§eindc§ ©eineS aWemoiren. Edited by Eduard Engel, Hamburg, 1884.
Contains poems, prose and letters then unknown. 359 pp.
ipeinri^ §einc unb unfere Qext By Leo Berg, in " Zwischen zwei
Jahrhunderten," Frankfurt am Main, 1896. 26 pp.
Smmortellen §einrid^ ^eineg. By Adolf Strodtmann, Berlin, 1871.
216 pp.
©eindd^ S«ncS SSerl^altniS jur 9?e(igion. By Carl Puetzfeld, Berlin,
191 2. 154 pp. Contains bibliography, pages xi-xii.
5)arrp. ®in Sloman aug ber erften ^alfte bed ncunae^ntcn 3a§r§uns
bertS* By Eduard Stilgebauer, Konstanz, 191 3. 451 pages. This is a
novel with Heine and those who associated with him as characters.
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READING LIST
(Pagination according to the Elster edition)
182 1. Sungc Scibcn, poems, 50 pages. Divided into ** Traumbilder "
(10), "Lieder" (9), — these poems are simply numbered;
" Romanzen " (20) — these are given titles — and " Sonette" (13).
1823. Sllmanfor, cine Xragdbic, without divisions or list of characters,
52 pages. The drama was written in 1820-21. An impossible
tragedy, reflecting a good deal of Heine's own life.
1823. Sgrifc^eS Sntcrmesjo, poems, 30 pages. A collection of 65 poems
without titles. So called because they were first published in a
single collection between his two dramas.
1823. 2Bi(Uam S^latcliff, Xragdbic, without divisions, bdt contains list of
characters, 34 pages. Written in the last three days of January,
1822. The plot is Heine's own invention in the main. The
drama was hissed off the stage at its unique performance in
Braunschweig on August 20, 1823.
1824. 2)ie §cimfc§r, poems, 56 pages. A collection of 93 poems, five
of which are given titles : " Gotterdammerung," " Almansor,"
" Ratcliff," " Donna Clara," " Die Wallfahrt nach Kevlaar."
The collective title owes its origin to the fact that the majority
of the poems were written after Heine's return home from the
University of Berlin. They were first published at Hamburg
in 1826.
1824. 2lu§ bcr Sarjrcifc, poems, 12 pages. A collection of 7 poems,
including " Der Hirtenknabe " and " Die Use."
1826. 2)ic Sl^orbfec, poems, 34 pages. A collection of 22 poems with titles.
1827. S3uc^ bcr Siebcr, collective title of the above-listed poems. It is
this collection that made Heine famous and made the year
1827, or 1826, a year from which to date a new genius in Ger:
man literature.
1830. 9ieifebi(ber» descriptions of travel in prose with interspersed
lyrics, 490 pages. Divided into four parts. Begun in 1824 and
finished in 1830. The second part, " Die Bader von Lucca,"
is dedicated to Immermann.
1832. Jrransdflfcl^C S^ft^nbc, prose, 194 pages. A collection of reports
which Heine wrote for the Augsburger Allgetneine Zeitung
from December 183 1 to September 1832. Heine moved to
Paris in June, 1831.
1834. Slug ben SRemoiren bed germ oon ©d^nabeleioopdfi, prose, 51 pp.
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1835. 3"^^ ©efc^ic^tc bcr SlcHgion unb ^f)iIofop§ic in 2)cutfc^(attb, 136 pp.
1835. ©Icmentargeifter, prose, 60 pp.
1838. ©^afcfpeareg 3Jidbc^en unb §rauctt, prose, 120 pages. Written
for a French bookseller; a delightful bit of popular criticism.
1840. Subn^ig 35rne, scurrilous and at times indecent criticism in prose,
132 pp.
1840. S)er diahbx Don Sac^arad^, cin gragment. Legend in prose, 38
pages. Dedicated to Heinrich Laube. This is one of Heine's
most important works ; it was his " Schmerzenskind." Begun
early in life ; he destroyed part of it and never found the op-
portunity to finish it.
1843. 2ltta XxoU, humorous, satirical, doctrinaire poem, 68 pages.
Divided into 27 sections, each called a " Kaput "; the last one
is " dedicated " to Varnhagen von Ense. Written in unrh3rmed
strophes, as follows :
fRonctiyal, bu cblc8 Zf^all
SBcnn ic^ bcincn 9?omcn l&6tc,
©cBt unb buftct mit im ^ctjcn
S)ic Dctfc^otlcnc Blauc SSIumc!
1844. ^cutfd^lanb, ein SBintcrmfird^cn, satirical, humorous, doctrinaire
poem, 64 pages. Divided as is " Atta Troll " and written in
the same sort of strophes, except for the rh)rme and metre, as
follows :
3fm traurigcn aWonat 9iot)cmBcr toax%
S)ic ZaQt wutbcn ttiibct,
^et SBinb tig t)on ben SSaumen bai Qaub,
3)0 tcift' ic^ nacft 2)cutWanb l^inubcr.
Heine paid Germany a visit in 1843.
1851. Xex 2)oItor gauft, cin ^anapoem, a prose sketch in 5 acts, 15 pp.
1851. Stomanjero, poems that have a connection, 152 pages. Divided
into three books : " Historien," " Lamentationen," " Hebrai-
sche Melodien."
1853. Xie ®5ttcr im ©jil, prose, 24 pp.
1854. ©cftanbniffe, confessions in prose, 60 pp.
1854. Sutejia : Setid^te iibcr ^olitil, ^unft unb SSolfglcbcn, prose, 236 pp.
1856. 3Wemoiren, prose, 70 pp.
In addition to the above, Heine wrote many poems, some gen-
eral articles under the collective title " Der Salon," and a num-
ber of reviews, one of the best of which is his introduction to
" Don Quichotte."
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THE SIDE LIGHTS
GEORG FRIEDRICH RUDOLF THEODOR HERWEGH
Bom May 31, 18 17, at Stuttgart. Father an impecunious
innkeeper. Lived a joyless childhood. Always somewhat nerv-
ous and petulant. Had no brothers, but one sister, five years his
junior. His parents separated October 31, 1832. A brilliant
boy, passed the final examination at the gymnasium in Stuttgart
when he was fourteen. A Swabian in politics, poetry, dress,
friendship and speech. Attended the seminary at Maulbronn.
A great reader, fond of Aristophanes and histories of the French
Revolution. Disliked his teachers. Entered the seminary at
Tiibingen (Oct. 23, 1835) to study theology, dismissed with a
sharp reproval (Aug. 5, 1836). Then studied law at Tiibingen ;
returned home at Easter, 1837, determined to become a poet.
Helped Lewald with the publication of Europa, Obliged to
enlist March 7, 1838, got into trouble and was finally discharged,
or rather he escaped, from the army and went to Switzerland
in July, 1839. Wrote poetry. In Paris from 1841 to 1842.
Met Heine and Dingelstedt. Started in the autumn of 1842
on a journey through Germany. Honored everywhere. Met
(Nov. 6, 1842) Emma Siegmund in Berlin, became engaged
to her (Nov. 13, 1842). Married her March 8, 1843. Had an
audience in Berlin with Friedrich Wilhelm IV — was then ban-
ished from Germany and returned to Switzerland; became a
Swiss citizen. Returned to Paris in 1843, met Heine, B^ranger,
Proudhon, George Sand and Liszt. Studied botany and read
Ludwig Feuerbach. Broke away from religion. Took part in
the French revolution of 1848. Became a politician and read
" Don Qubcote," led a party of Republicans through southern
Germany and escaped to Paris in 1849. Returned to Switzer-
land and met Richard Wagner, Mommsen, Gottfried Keller
and others. Went in 186 1 to Karlsbad for treatment. Met
Meissner and Laube. He thought of various undertakings,
finished by translating eight of Shakespeare's dramas. Lived
from 1866 till his death in Baden-Baden. An impatient
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democrat. Hated the idea of the German Empire. The inscrip-
tion on his monument pictures him as "persecuted by the
great, hated by the servile, misunderstood by the majority, loved
by his own." Died in Baden-Baden, April 7, 1875.
BIBLIOGRAPHY
5ern)cg^S 3GBerIc. Edited by Hermann Tardel, 3 parts in i volume,
Berlin (Bong), no year (recent). Contains good general and special
introductions.
®corg §ernjcg§. ©cin Scben unb fcin ©d^affen. By Adolf Trampe,
Leipzig, 1 910. 132 pp. Bibliography, pp. vi-xi.
Le Poete Georges Herwegh. By Victor Fleury, no place, no year
(recent). 397 pp. A very thorough study. Bibliography, pp. 371-375.
READING LIST
1841. ©ebid^tc cineS Scbcnbigcn (dating back), 171 pp.
1843. ©inunbjroanjig 93ogen auS bet ©d^roeij. Miscellaneous articles
by Herwegh, 336 pp.
1877. 9lcuc (Sebid^tc Don ®corg ^erweg^. Published after his death,
Ziirich, 291 pp.
1896. (Scbic^tc cincS Sebenbigcn. Twelfth edition, Leipzig, 264 pp.
Some of his best known poems are 3ln ben ^onig POtt ^reus
• (en ; Xa^ St^einroeinlieb ; 3d^ mbd^te ^inge^en rote bad Slbenb^
rot ; Xxe bangc SRad^t ift nun ^cnim.
ERNST THEODOR WILHELM (Amadeus) HOFFMANN
Bom January 24, 1776, at Konigsberg. Parents came from
families of distinguished lawyers, father was dissipated and
mother eccentric; they separated in 1779 and the boy's train-
ing was directed by his maternal uncle, Otto Dorfer. He lived
a very unhappy life, full of monotony and devoid of any sort of
inspiration. Attended the German-Reformed school at Konigs-
berg (1783-91), studied law at Konigsberg (1792-95), passed
his examinations July 22, 1795, became barrister at Konigsberg
(1795-96), referendary at Glogau (1796-98), notary at Berlin
(i 798-1800), assessor in Posen (1800-02). Married M. Th. M.
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Rorer (Trczynska), of Polish descent, in 1802. Lived a dissolute
life in Posen, and was then exiled to Plozk (1802-04) because
of cartoons of public men; transferred to Warsaw (1804-07),
then a part of Prussia. Lost his government position after the
battle of Jena and then spent seven unhappy years in Berlin
(1807-08), as director of an orchestra at Bamberg (1808-13),
and in Leipzig and Dresden (18 13-14). Regained his position
with the government after the War of Liberation and returned
to Berlin, where he lived the rest of his days, immortalizing the
wine restaurant of Lutter and Wegener, writing stories, and
performing good service as a judge; he favored Jahn in the
attempts that were made to prove Jahn's introduction of ath-
letics a bit of anarchy. Utterly improvident, he turned night
into day and day into night, and, talented and precocious indi-
vidual that he was, he remained a dilettant in life and art. His
vocation was law ; his avocation literature ; his hobbies music,
drawing, and architecture; his weakness intemperance; his
strength versatility. He has had unmistakable influence on
Grabbe, Alexis, Hauff, Solitaire, H. C. Andersen and Gott-
fried Keller. Goethe disliked him, and Carlyle, though he
translated hipa into English, paid him only left-handed compli-
ments. He has been frequently translated into French and
influenced Hugo, Dumas, Gautier, De Nerval, Balzac and others.
He composed music that received the unstinted approval of
Weber and gave themes to Delibes, Offenbach, Schumann,
Wagner, Tschaikowsky. He himself was fond of J. S. Bach,
Cherubini, Spontini, M^hul and Gluck, and hated Paer. His
opera "Undine" (18 16) can be said to be the first music-drama
after the fashion of Weber and Wagner. His music to Brentano's
" Lustige Musikanten " has also been highly praised. He was
influenced by Rousseau, Wiegleb, Jean Paul, Novalis, Brentano,
and the Schlegels. Much difference of opinion as to his merits :
some say he had the making of the poet in him, but that he
remained undeveloped. Others compare him with Kleist — to
whom he bears some resemblance — and thus contend that
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he was not a poet. The comparison of Hoffmann with Poe
has been made frequently, generally to bring out the point that
the weird, fantastic and supernatural of neither i& convincing.
His works abound in doubles ; somebody is always being trans-
formed. He had no lyric, no dramatic, gift and but littie appre-
ciation of nature. That he was so profoundly influenced by
Jacques Callot (1592-163 5) and Jacques Cazotte (1720-92)
gives a fair idea as to what he was like. He said of himself
that in him nature tried a new recipe and failed. Nevertheless,
he is, next to Heine and Kleist, the most alive to-day of all the
Romanticists. His life was one long conflict between life and
art, and his works show it. He pictured again and again the
struggles between the man making a living and the man court-
ing the muse. He was afraid of death and afraid to grow old ;
he painted death in the form of old hags — his works abound
in such characters — and tried to find youth in wine. Of him
Carlyle said : " His life was disjointed : he had to labor for his
bread, and he followed three different arts ; what wonder that
in none of them he should attain perfection. ... As a poet
he aimed but at popularity, and has attained little more. His
intellect is seldom strong, and that only in glimpses ; his abun-
dant humor is too often false and local ; his rich and gorgeous
fancy is continually distorted into crotchets and caprices. In
fact he elaborated nothing; above all, not himself." He died
at Berlin, June 25, 1822..
BIBLIOGRAPHY
®. %, 21. Hoffmann's gcfammcltc ©d^riftcn, 12 volumes, Berlin, 1845.
In good print, without introductions, with excellent illustrations by
Theodor Hosemann.
®. %^, 21. Hoffmanns auSgetod^ltc 3Bcrfc, 4 volumes (Cotta), with an
introduction by Joseph Lautenbacher (Vol. i, pages 1-50), Stuttgart and
Berlin, 1892.
®. %, 21. Hoffmanns f dmtUd^e 9Bcr!e, 1 5 volumes in 4, with an intro-
duction (pages i-cx) by Eduard Grisebach, Leipzig (Hesse), 1899. The
best eclectic edition.
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SluS bcm Seben atDcicr ^ic^ter : ®rnft X^eobor 3BiI^c(m §offmann'3
unb gtiebrid^ ©ottlob SBc^crg. By Z. Funck, Leipzig, 1836. 315 pp.
Hoffmann, pages 1-172. An old-fashioned treatment.
®. %. 21. iQoffmanng Scbcn unb ^a6)ia% By Julius Eduard Hitzig,
Stuttgart, 1839. 507 pp. Contains letters, drawings, facsimiles, etc., but
is an old-fashioned biography, formless and flattering.
®. %, 21. Hoffmann, ©ein Sebcn unb feinc 2Cer!c. By Georg Ellinger,
Hamburg and Leipzig, 1894. 230 pp. A critical study.
Contes posthumes d'Hoffmann, traduits par Champfleury, Paris, 1856.
323 pp. Pages 1 to 166 deal with Hoffmann's life.
Pontes et Nevroses. By Arvede Barine, Paris (2d ed.), 1908. Treats
Hoffmann (pages 1-58), De Quincey, Poe, De Nerval.
(5. X. 21. Hoffmanns (SraS^Iungen in granfrcid^. By Gustav Thurau,
Konigsberg, 1896. 48 pp.
The Influence of E. T. A. Hoffmann on the Tales of Edgar Allen Poe.
By Palmer Cobb, Chapel Hill, North Carolina, 1908. 104 pp.
®. %. 21. Hoffmann : ©tubien au fctner ^erf5nlic^!cit unb feincn 3BcrIctt.
By Arthur Sakheim, Leipzig, 1908. 291 pp.
^ic Scbeutung beg 2Wufi!a(ifcl^cn unb 2l!uftifc^cn in ®. %. 21. ©off::
mannS (iterarifc^em ©d^affcn. By Carl Schaeffer, Marburg, 1909.
56 pp.
2Kcnfcl^en unb 2Kacl^tc. 2luSgcn)fi§(tc (graa^lungen t)on ®. %, 21. 5offs
ntann. Miinchen, 191 1. 538 pp.- In the "Biicher der Rose" series.
Volume 6. Contains 10 of Hoffmann's best known tales, splendidly
printed. Cheap but very good. Handiest place to get a general idea
of Hoffmann.
®. X^. 21. §0ffmannS Dpcr. By Martin Ehrenhaus, 191 3. 4 pp. In
Die Schaubiihne^ January, 191 3. A short but instructive article.
^anbbud^ jur ©efd^ic^tc bcr bcutfd^en Siteratur. By Adolf Bartels,
Leipzig (2d ed.), 1909. 859 pp. Though uncritical and occasionally
incorrect, this manual should be on every student's desk; it is a con-
venient place to find the main data. It is especially good for Hoffmann,
pages 394 to 398, giving the exact place of appearance of each of
Hoffmann's works.
READING LIST
1809. Slitter ®(ud, short story, deals with Gluck, and with Hoffmann's
ideas of music, first appeared in Friedrich Rochlitz's Allge-
meine Musikzeitung^ Leipzig, 18 pp.
181 2. ^on 3w<*tt» eine fabel^afte S3egebenl^eit, short story, 13 pp.
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1813. S)cr golbenc ^opf, considered by many his best work, fairy tale,
80 pp.
181 6. 2)aS aWajorat, one of the '*Nachtstiicke," influenced by Schiller's
" Rauber," 77 pp.
1 81 6. 2)ic ©ItEirc bed XcufclS, novel, 282 pp.
181 6. diai ^rcfpcl, translated into English and published in New York
under the title "The Cremona Violin," basis of Act III of
Offenbach's opera, "Les Contes d'Hoffmann," short story,
22 pp.
1 81 7. 2)cr ©anbmann, fairy tale, basis of Act I of Offenbach's opera
and of Delibes' ballet " Coppelia," 47 pp.
181 7. ©efd^id^tc Dom Dcrlorcncn ©picgelbilb, the counter-piece to Cha-
misso's " Peter Schlemihl," basis of Act II of Offenbach's
opera, short story, 22 pp.
181 8. ^lettt'3<*c^cS/ gcnannt QxnnobeXy in part the basis of the Prologue
and Epilogue of Offenbach's opera, fairy tale, 100 pp.
1 81 9. aWeiftcr 2Karttn bcr ^Ufncr unb feinc ©efcUcn, a picture of medi-
aeval artisan life, different from any other of Hoffmann's works,
short story, 90 pp.
1 81 9. Xa^ JJrftulcin DOn ©CUberg, considered by many his best work,
the figure of Cardillac said to be his best drawn character,
short story, 71 pp.
1 82 1. ScbenSanftc^ten beS Waters 3Jlutv, ncbft fragmcntarifd^cr Sdioqva-
p^ic bcS ^apcHmciftcrS So^onncS ^rciSlcr (Hoffmann himself),
incomplete novel laid out on a pretentious plan, 386 pp.
1 82 1. 3lu^lnadev unb 3KaufcI5nig, fairy tale, basis of Tschaikowsky's
"Nut-Cracker Suite," 58 pp.
1822. S)e8 SScttcrS (Sdfenftcr, dictated by Hoffmann to his attendant
while on his deathbed, short story, 25 pp. Aside from
"Meister Martin" all of Hoffmann's works resemble each
other. Some of the other titles are " Der Artushof," " Ignaz
Denner," " Die Jesuitenkirche in G," " Das Sanctus," " Das
ode Haus," " Das Gelubde," " Seltsame Leiden eines Theater-
direktors," "Die Bergwerke zu Falun," "Die Automate,"
" Doge und Dogaresse," " Der Dichter und der Komponist,"
" Signor Formica," " Meister Floh," " Datura Fastuosa."
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KARL LEBRECHT IMMERMANN
Bom April 24, 1796, at Magdeburg. His oldest known an-
cestor fought as sergeant in the Swedish army during the Thirty
Years' War. Father, stem and bureaucratic, married, at the
age of forty-five, Friederike Wilda, then eighteen. Mother,
colorless and retiring, played a minor role in his life. Studied
(1807-13) at the gymnasium in Magdeburg, then for two years
intermptedly at Halle (18 13- 17). Fought at Belle Alliance,
entered Paris with the victorious army, was discharged as second
lieutenant. Suffered from unrequited love and then lived (182 1-
39) in unnatural relations with Grafin Elisa von Ahlefeldt, the
divorced wife of Adolph von Liitzow. Married Marianne Nie-
meyer ( 1 839). Practiced law at Magdeburg ( 1 8 1 7- 1 9), Miinster
(1819-24), Magdeburg (1824-27), Dusseldorf (1827-40).
Rendered valuable service to the German stage by his man-
agement of the Stadttheater at Dusseldorf (1832-37). Fre-
quent traveller, omnivorous reader, able critic, prolific writer of
poor lyrics, mediocre dramas, good epics. Irreconcilable discord
in his character and inconsistency in his works. Brought up in
rationalistic surroundings, and one of the first of the realists,
his relation to Romanticism was nevertheless intimate and
imitative, sometimes spurious, incoherent but lifelong. Died
August 25, 1840, at Diisseldorf.
BIBLIOGRAPHY
SmmetmannS SQBerle. Edited by Robert Boxberger, 20 parts in 8
volumes, Berlin, Gustav Hempel, 1883.
StnmermannS SBcrlc. Edited by Harry Maync, 5 volumes, Leipzig
and Wien, 1906.
SmmcrmannS SBcrfc. Edited by Werner Deetjen, 3 volumes, Berlin
(Bong), no year (191 2). Contains biographical introduction, Volume I,
pages i to Ixxxvii, and special introductions to individual works.
5lar( Stntncrtnann. ©ein Sebcn unb fcinc SQBerfc. Edited by Gustav
zu Putlitz, 2 volumes, Berlin, 1870. 697 pp.
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^arl Smmertnann. @ine ©cbfid^tniSfd^rift jum 100. ©cburtstagc beS
S)ici^tcr8. By R. Fellner, J. Geffcken, O. H. Geffcken, R. M. Meyer
and Fr. Schultess, Hamburg and Leipzig, 1896. 220 pp.
SmmermannS 2Kcrlin. By Kurt Jahn, Berlin, 1899. ^28 pp.
SmmcrmannS 3w9^n^i>i^<*tn««' By Werner Deetjen, Leipzig, 1904.
200 pp.
StnmcrmannS SBeltanfc^auung.^ By Sigmund von Lempicki, Berlin,
1910. 136 pp.
Karl Lebrecht Immermann: a Study in German Romanticism. By
Allen Wilson Porterfield, New York, 191 1. 153 pp.
SmmcrmannS Xriftan unb Sfolbc. By Max Szymanzig, Marburg,
191 1. 258 pp.
S)er Dber^of. Edited by Hermann Muchau, Leipzig, 1901. 255 pp.
Immermann never wrote a separate work with this title. Editors have
simply taken certain chapters from " Miinchhausen " and published
them independently. Some editions contain about 75 pages, others
375 pages. This is the one work by which Immermann is now
known.
iibcr Xcd^nil unb ©til ber 3flomane unb 9lopcllcn 3»K»KcrmannS. By
Leo Lauschus, Berlin, 191 3. 136 pp.
READING LIST
1825. ©arbenio unb (ScUnbe, tragedy, 85 pp.
1828. 5laifer gricbrid^ ber 3«^eite, tragedy, 117 pp.
1829. Xulifftntd^en, satirical epic, 108 pp.
1830. @ebici^te, 244 pp. Immermann's poems, with but few exceptions,
are weak. He published also at Hamm, in 1822, ©ebtc^te, 184
pages, with 3Kufif5ci(agen by Wachsmann. The best of his
poems are found in the Maync edition.
1832. SKcrlin, dramatic poem, 108 pp.
1833. 2lnbrcaS §ofcr, tragedy, 79 pp.
1835. Xxe ©ptgonen, novel, 674 pp.
1839. aWiind^l^aufen, novel, 699 pp.
1840. SRemorabilien, autobiography and criticism, 699 pp.
1841. 2:riftan unb Sfolbe, epic (fragment), 271 pp.
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JUSTINUS ANDREAS CHRISTIAN KERNER
Bom September i8, 1786, at Ludwigsburg, the son of an
official, related to Hauff and Uhland. Studied in the schools
of Ludwigsburg, Knittlingen and Maulbronn, entered (1804)
the University of Tiibingen to study medicine. Associated at
Tiibingen with Uhland, Karl Mayer and Vamhagen von Ense,
with all of whom he collaborated on the Sonntagsblatt filr ungebil-
dete Stdnde (1807). Took his medical degree in 1808. Travelled
(1809-12), visiting Berlin, Hamburg, Wien, Miinchen, principally
in the interest of his studies in medicine. Settled down in
Welzheim in 181 2, where he married Friederike Ehemann
in 18 13. Became official physician in 18 15 in Gaildorf, and
in 18 18 was transferred to Weinsberg, where he lived the rest
of his life. He made occasional excursions in the summer to
Baden-Baden, and once took a journey down the Rhine and
went to Helgoland. He was obliged to retire in 185 1 owing
to almost total blindness. Wife died in 1854. Built the popular
" Kemerhaus " in Weinsberg and became famous for his hospi-
tality. Known personally to almost all the Romanticists of the
time. The oldest and most talented poet of the Swabian circle.
A dreamy, melancholy strain in his lyrics. A popular and suc-
cessful physician, saw much suffering and portrayed suffering
frequently. Became interested in mesmerism, somnambulism
and the like, really believed in ghosts and magnetic cures. Studied
the case of Friederike Hauffe and wrote from it his " Seherin."
Represents in life and practice what a number of the Roman-
ticists theorized about — the occult Died at Weinsberg, Febru-
ary 22, 1862.
BIBLIOGRAPHY
Suftinttg 5lcrncrS Sricfroed^fcl mit feinen greunbcn. Edited by his
son Theobald Kerner, annotated by Ernst Miiller. Two volumes, Stutt-
gart, 1897. A mine of detailed information about the men and poets of
the day, valuable not only for Kerner but also for his numerous friends.
S)aS ^erner^auS unb feinc ©Sftc. By Theobald Kerner (died 1907),
Stuttgart, 1897. An extremely interesting book. 396 pp.
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SuftinuS Center. By Aim^ Reinhold, Tubingen, 1886. 172 pp. Con-
tains a handy chronological list of Kerner's works and publications —
19 entries from 1807 to 1859.
©efd^ic^tc ber 2r)t\t SuftinuS ^cmcrS. By Johannes Richert, Beriin,
1909. 60 pp. (Teildruck.)
Suftinug Werner alS S^omantifct. By Franz Heinzmann, Tubingen,
1908. 48 pp.
SuftinuS ^crnerg auSgcroS^ltc poctifd^c 3BcrIc. Two volumes, Stutt-
gart, 1879. The most convenient place to read Kerner's poems.
READING LIST
1829. S)ie ©e^critt pon ^rcDorft, prose account of observations made
in a peculiar medical case, dedicated to G. H. Schubert, 594 pp.
1849. 2)ag 95tlberbuc^ auS mcincr ^nabcnaeit (1786- 1804), 294 pp.
1856. grana 2lnton aWcSmcr, ber (Sntbcdcr beS t^terifd^en 2Wagneti8mu8,
prose account of the father of mesmerism, 2 1 2 pp.
1859. ©ebid^te* dating back to 1807, about 300 pp. Best known poems:
2)er fd^rocrc 2:raum ; 3Banbcr(ieb; S)errcicl^ftcgilrft; S)cr2Batts
bercr in ber ©figctnu^le; 3m3Binterj 2)ie fd^njabifd^e iDic^tcrs
fc^ulc; ^ocfic.
BERND HEINRICH WILHELM VON KLEIST
Kleist was bom at Frankfurt an der Oder, October 18, 1777.
He was the son of Joachim Friedrich von Kleist, an army officer,
and Juliane Ulrike von Pannwitz. His father died June 18,
1788, his mother February 3, 1793. We know but little of his
father, who seemed to have little interest for anything outside
of the army, and possibly less about his son's youth ; it is even
a question as to whether he was born October 18 or October 10.
Of his mother he always spoke with profound respect. He was
the third of five children by a second marriage and was supported
and encouraged by his half sister, Ulrike, a masculine sort of
unwomanlike woman (i 774-1849). He had a private tutor in
his youth, Martini by name, since it would have been undignified
for the son of an army officer to attend the regular gymnasium,
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Martini spoke of Kleist as ein nid^t ju bdmpfenber geucr^
geift. After the death of his father he came to Berlin and
studied in the home of the preacher of the French ^ofpitaI=:
fird^e, Samuel Heinrich Catel, a man of some literary gifts, who
taught Kleist many things, including French. In 1792 he
entered the army as a corporal, took part in the campaigns
along the Rhine, 1793, 1794, 1795, and became second lieu-
tenant, March 7, 1797.. In the summer of the same year he
made a journey through the Harz with his friend, Riihle von
Lilienstem. Army life became more and more distasteful to
him ; he wanted to act as a human being, but was obliged to
act as an officer. Moreover, he was being drawn to intellectual
pursuits. He secured, therefore, his discharge from the army
and entered, at Easter, 1799, the university of his native town
to study law, but devoted the most of his time to philosophy,
physics and mathematics. It was especially the study of Kant's
philosophy, with its categorical imperative and its 2ltte§ SB iff en
ift ©tUcftDerf, that drove Kleist almost to the point of complete
despair. While a student at Frankfurt an der Oder he became
engaged to Wilhelmine von Zenge, the daughter of a general.
She was bom August 26, 1780, and died April 25, 1852. In
the summer of 1800 he made a mysterious journey to Wiirzburg
in the company of his friend Brockes. No one knows why he
went; many have imagined this and that. In 1801 he started
with his sister Ulrike to Paris, where they arrived July 10, and
from which place they departed, thoroughly displeased, in No-
vember of the same year. He went then to Switzerland to
become a farmer after a fashion ; it is possible that he thought
he might, in this way, become an undisturbed poet. In Bern he
met Heinrich Zschokke, Heinrich Gessner and Ludwig Wieland.
After illness and other misfortunes, including the failure of his
agricultural scheme, he returned to Germany in 1802; went to
Weimar, where he met Wieland, who encouraged him with much
praise; that he met at the same time Goethe and Schiller is
extremely probable. In 1802 he broke his engagement with
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Wilhelmine von Zenge. During the last nine years of his life
he led an unsteady and wandering existence. In 1803 we find
him the guest of Wieland at Ossmannstedt; from there he went
to Leipzig and associated with Fouqu^, Lilienstem and Ernst
von Pf uel ; with Pfuel he went to Dresden, then to Switzerland,
then to Upper Italy, then to Paris by way of Geneva and Lyon,
where he burned his "Guiskard" and, in his impossible condi-
tion, broke with Pfuel. It is said, and there seems little reason
to doubt it, that he then planned to enter the French army and
meet death on the battle field. But this double scheme could
not be realized. He then returned to Germany and we find him
in the region of Mainz and Wiesbaden, planning to become a
joiner. After disappearing for a while, he reappeared at Potsdam
in 1804, and secured, on the recommendation of Stein, a poor
position in Konigsberg, where he was for a while in 1805-
06, one of his most productive periods. The battle of Jena
brought another change in his life ; he started to Dresden, was
captured on the way by the French and imprisoned at Jpux.
Liberated through the instrumentality of his sister, he went in
July, 1807, to Dresden, where he published with Adam Miiller
(1808-09) Phobus^ a journal with a pretentious title and a
short life. It is said that the thought of assassinating Napoleon
now came to him, but the evidence is not convincing. On
April 29, 1809, he left Dresden, went to Prag on some sort of
political business, disappeared from sight again and finally showed
up, as it were, at Frankfurt an der Oder, and came from there
to Berlin. The death of Queen Luise (July 19, 18 10) deprived
him of his last hope ; the pension that she had given him had
already been disturbed. He took his own life after having taken
that of Frau Henriette Vogel in accordance, as it seems, with a
previous promise, at Wannsee near Berlin, November 21, 181 1.
He lies buried by her side on the spot where the tragedy occurred.
Kleist, like Heine, Jean Paul, Holderlin and not many others,
not only deserves but has to be given a place in German litera-
ture by himself. When the life of a man is unique, his poetry
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will be so also, and Kleist's was unique. He was a man of
tremendous ambition; it requires courage to try to pluck the
laurels from the b'row of such a contemporary as Goethe. He
possessed real genius, considerable talent, and great intellectual
gifts. He hated the commonplace always, he was instinctively
a patriot, and yet he lived and wrote in the days of Germany's
greatest degradation. It is said that he resembled Torquato
Tasso ; if so, it is well to call to mind Goethe's drama of like
name. Great and alone, he was secretive, problematic and
pathologic, eccentric, personal and subjective. The social back-
ground of Germany from 1795 to 1811 explains his works as
well and fully as the background ever can explain the works of
a German poet The one real genius of the Romantic School
between 1798 and 1826, next to Schiller and Grillparzer Ger-
many's greatest dramatist, by all odds the one great dramatist of
Romanticism, Classic in form but Romantic in content by reason
of his extravagance, starting the straight line that can be drawn
from him to Hebbel and from Hebbel to Ibsen, he nevertheless
died without having seen a single one of his plays performed.
He bore somewhat the same relation to the group at Dresden
that Tieck bore to that of Berlin-Jena and Arnim to that of
Heidelberg. Though he enjoyed but eleven years of poetic
activity (1800- 11), he can now be read in many editions and
can be studied from many biographies and critical monographs.
Tieck wrote for sixty-four years (i 789-1853) and has not been
treated nearly so generously. And this is true, despite the fact
that with Kleist everything went wrong ; he lost, as time went
on, health, love, money and recognition.
But it was not this that caused his tragic end. Kleist was
an uncompromising idealist. All of his works might have
been called " Unzeitgemasse Betrachtungen." Though he loved
beauty, he could not sacrifice truth to it. He could not treat
the trivial, that he would have considered blasphemy. Nor could
he treat the unreal, that would have made him a Romanticist as
popularly understood. He could not derive inner help from the
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OUTLINE OF GERMAN ROMANTICISM
flippant souls around him, that would have made him scorn him-
self. He lived alone and wrote for a generation that would not
hear him. Tired of rebuff, he voluntarily departed from a world
that he felt was unkind to, and unappreciative of, the promising
children of his wonderful but very odd mind.
BIBLIOGRAPHY
Seinrtc^ t)on ^IciftS gcfammcltc ©d^riften. Edited by Ludwig Tieck,
3 volumes, Berlin, 1826. Contains introduction, Volume i, pages i-lxvi.
Tieck'swork is valuable because pioneer; it has, of course, been super-
seded from the point of view of plain usefulness.
^cinricl^ t)on ^leip politifc^e ©c^riften unb anbcre SRad^trfigc ju fei-
ncn 2Cer!en. Edited with an introduction by Rudolf Kopke, Berlin,
1862. 168 pp.
gcinrid^ Don ^(ciftS f amtlid^c 2Berf e. Edited by Eduard Grisebach, 2 vol-
umes in I, Leipzig (Reclam), 1883. 842 pages. The best cheap edition.
Scinric^ Don 5lIciftS famtUd^c SCerfc. Edited by Theophil ZoUing,
Berlin, 1885. Kiirschner^s D. N. L., Volumes 149-150.
5. D. ^leip fftmtlic^e SBerfc. Edited by Franz Muncker, 4 volumes
with biographical introduction, Stuttgart (Gotta), 1893.
^cinrid^ Don ^IctftS 2Jiciftcrn)erfe mit (Srlfiutcrungcn. Edited by
Eugen Wolff, 4 volumes, Minden i. W., 1898- 1903.
§cinric^ Don ^(ciftS fftmtlid^e 2BcrIc. Edited by Karl Siegen, 4 vol-
umes in I, Leipzig, 1900.
§cinrid^ Don illciftS fftmtlid^c 3GBerfc. Edited by Bruno Jagow, with a
biographical introduction, 2 volumes in i, Leipzig, 1903.
§cinrid^ Don ^(cip SBerfc. 3m SSercin mit ®corg aWinbc^^ouct unb
Slein^olb ©tcig. Edited by Erich Schmidt, Leipzig and Wien, 5 vol-
umes, no year (1905). Possibly the best edition.
§cinrt^ Don ^(ciftS ffimtlif^e SBerfe. Edited by Fritz Baader, Stutt-
gart, 1907. One volume, 401 (large) pages; cheap edition, not so good
as Reclam.
§cinnd^ Don illeift. ©fimttic^c 3BcrIc unb S3ncfc. Edited by Wilhelm
Herzog, Leipzig, 1908-1911. Contains an evaluating introduction and
copious notes. The edition is good also because of the excellent type
and print.
§einri(^ Don ^leiftS fSmttic^c SDBctfe. Edited by Arthur Eloesser, 5
volumes, Leipzig, 1909-19 10.
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^einrid^ oon 5t(eift. 2Ber!e auf @tunb ber gempelfd^en ^udga^e.
Edited by Hermann Gilow, Willy Manthey, Wilhelm Waetzoldt, Berlin
(2d ed.), 1909. The " Goldene Klassiker-Bibliothek " edition, and good.
©cinrtc^ won ^leiftS ©rjSl^lungett. Edited by Erich Schmidt, Leipzig,
. 1908. 290 pp.
^einrid^ won 5lleift8 ©rjdl^lungcn. Berlin, 1910. The artistic Cas-
sirer edition. Three small volumes without commentary.
^einrid^ won 5l(eiftd £eben unb ^riefe, mit einem SlnJ^ange. Edited
by Eduard von Biilow, Berlin, 1848. 286 pp.
ipeinric^ ©on ^Iciftg Sriefe an feine ©d^roeftcr Ulrile. Edited by S.
Rahmer, Berlin, 1905. 228 pp.
J&einric^ ©on 5l(eift. By Adolf Wilbrandt, Nordlingen, 1863. 422 pages.
A valuable biography because of its author and its date.
2)a§ Seben Jpeinric^SDOn ^leift. By Otto Brahm, Berlin, 191 1. 450
pages. New edition.
^cinric^ ©on ^leift. ©ein Sebcn unb feine SBerfe. By Wilhelm Her-
zog, Miinchen, 191 1. 694 pages. Contains (pages 676-681) an excellent
bibliography.
^letftS Seben unb 3Berle. By Heinrich Meyer-Benfey, Gottingen, 2
volumes, 191 1. The biographies of Wilbrandt, Brahm, Herzog and
Meyer-Benfey are the best in German.
Henri de Kleist. Sa vie et ses oeuvres. By Raymond Bonafous,
Paris, 1894. 424 pages. This was Bonafous's doctor's dissertation be-
fore the faculty of letters at Paris. He has done some other work on
Kleist.
^einric^ ©on ^(eift alS aWenfd^ unb 2)ic§ter. By Hermann Conrad,
Berlin, 1896. 40 pp.
2)aS ^(eift=^roblem. By S. Rahmer, Berlin, 1903. 182 pages. 3c^
fa^ mtd^ gejiDungen; mit ber neuro(09ifc^::pf9c^iattifc^en ^etcac^tung aud^
rein (iterarifc^e gorfc^ungen ju ©erbinben.
§einric^ ©on ^leiftS „3Wutn)iUe bc§ §immelS*, eine literarl^iftortfd^e
Unterfuc^ung. By Paul Hoffmann, in Euphorion^ Volume 14 (1907),
pages 565 to 577. The monographs and articles on Kleist*s individual
works are many in number.
§einrtd^ ©on ^leift. By Laurenz Kiesgen, Leipzig, 1901. 126 pages.
This is Number 6 in the " Dichterbiographien."
§einrtd^ ©on illeift. ©ein %t\>Wi unb feine 3Ber!e. By Hubert Bad-
stiiber, Wien, 1902. 68 pp.
©. §. ©atel, ein Sel^rcr ^einrid^ ©on illetftg. By Hermann Gilow, in
Euphorion, Volume 14 (1907), pages 287-308.
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©c^illerfc^e ©influffe bci jQcinric^ won £Ieift. By Wilhelm Holzgrafe,
Cuxhaven, 1902. 32 (large) pp.
^einrid^ t)on ^leift unb baS bcutfc^c %f)eatet. By Walter Kuhn, Miin-
chen, 191 2. 148 pp. Gives the stage history of Kleist*s dramas.
3ltue ^unbe 8U ^einrid^ oon ^(eift. By Reinhold Steig, Berlin, 1902.
135 PP-
©d^iUer unb ^(eift. By Emil Mauerhof, Ziirich, 1898. 170 pp.
2)ic 3bec tm 2)rama bei ©oet^c, ©d^iUer, OriUparaer, ^(eift. By
Michael Lex, Miinchen, 1904. 314 pp.
§cinric§ oon ^leift. ^arftcUung beS ^roblemg. By Hanna Hell-
mann, Heidelberg, 191 1. 80 pp.
fOcinric^ oon ^(eift. ®ine patj^ograp^ifd^-pfpd^ologifd^e ©tubic. By
Isidor Sadger, Wiesbaden, 1910. 192 pp.
^lcifts©tubten. By Spiridion Wukadinovic, Stuttgart, 1904. 192 pp.
geinrid^ oon ^(cift in feinen Sriefen. By Roderich Markentin, Hei-
delberg, 1900. 47 pp. Gives an idea of Kleist*s titanic but fruitless
attempt to win fame.
Kleist and Hebbel. A Comparative Study. By Henrietta K. Becker,
Chicago, 1904. 71 pp.
2)ramaturgie beS ©d^aufpielS. By Heinrich Bulthaupt, Oldenburg
and Leipzig, 1906. Lessing, Goethe, Schiller, Kleist (pages 481 to 555).
A good work for the intellectually timid.
HRimifd^e ©tubien ju §einric^ ©on ^leift. By Ottokar Fischer, in
Euphorioity Volume 15 (1908), pages 485 to 510, 716 to 725; and Vol-
ume 16, pages 62 to 92, 412 to 425, 747 to 772. A valuable study of an
important phase of Kleist's dramas.
2)er reimlofe fUnffiigiQe SombuS bet Jpeinrid^ oon ^leift. By Heinrich
Fiiser, Miinster i. W., 191 1. 136 pp.
^ie (Sntn)idte(ung ber noDeUtftif d^*en ^ompofitionStec^nil ^(eiftg biS jur
SWeifterfd^aft. By Kurt Giinther, Leipzig, 191 1. 90 pages. Kleist*s short
stories constitute an exceedingly important part of his work, making
this study indispensable.
%xt nooelliftifd^c ^unft Jpeinrid^S won ^leift. By H. Davidts, Berlin,
1913. 151 pp.
geinric^ oon illeift. By Franz Servaes, Leipzig, 1902. Contains good
illustrations. 160 (quarto) pp.
^(eiftS SBerliner ^ftmpfe. By Reinhold Steig, Berlin, 1901. A valu-
able documentary book, but heavy reading. 708 pp.
jQeinrid^ t)on ^leift alg aWcnfd^ unb 2)id^ter. By S. Rahmer, Berlin,
1909- 453 PP-
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©einnd^ oon ^Icift. ©eine ©prad^e unb fein ©til. By Georg Minde-
Pouet, Weimar, 1897. 310 pages. A valuable study.
^leift unb bie S'lomantif. By Emst Kayka, Berlin, 1906. 210 pages.
A valuable study in that it tries to prove that Kleist was not a Romanticist.
geinric^ won ^Iciftg S'leife nac^ SButjburg. By Max Morris, Berlin,
1899. 50 pp.
READING LIST
(Pagination after Herzog's edition)
1803. 2)ie gamilie ©cutoff cnftein, tragedy, 182 pages. Kleist*s first
work and one that he later disliked. The first form was called
" Die Familie Thierrez," the second " Die Familie Ghonorez."
First performed under Karl Immermann's management at
Diisseldorf, February 12, 1837.
1803. diohext @uid!arb, dramatic fragment, 29 pages. Written in 1802-
03, destroyed, written again from memory in 1807, published
in Phobus in 1808. ®S foUtc nid^tg ©cringcreS bcbcutcn, al8
einc iiberbietung atteS beffen, was bie beutfc^en ^laffilcr oon
Seffing bis ©c^iUcr im 2)rama errcic^t fatten. First performed
in 1901 in Wien between Goethe's "Satyros" and Werner's
" Der vierundzwanzigste Februar," and in Berlin, under Paul
Lindau's management, with Goethe's " Satyros"and " Elpenor."
1807. 2lmpl^itr^on, comedy after Moli^re, 129 pages. First performed
in Berlin in 1898. •
1808. ^ent^efllea, tragedy, 179 pages. Performed in Berlin, under
Mosenthal, or rather according to his stage version, April 25,
1876. It was possibly performed earlier elsewhere.
1808. 2)cr jerbroc^enc ^rug, comedy, 159 pages. First performed at
Weimar under Goethe's management, March 2, 1808.
1808. 2)ic ^crmannSfc^lac^t, drama, 161 pages. In 1858 Heinrich von
Treitschke said that the drama should be performed. It was
performed about i860 in the version of Feodor Wehl.
1 810. %Q& iiatl^cl^cn t)On ^cilbronn, historical drama, 178 pages. First
performed March 17, 18 10, at the Theater an der Wien. Kleist's
most popular drama.
1810. ^rinj gricbrid^ won §omburg, drama, 128 pages. First performed
under Schreyvogel's management, October 3, 182 1. Kleist's
last and ripest drama. If Romanticism allows love to prevail
over duty, then this drama is most Romantic.
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1811. 3lovtVien, Appeared in book form in Berlin, but some of the
stories were written and published separately, several appearing
in magazines, previous to 181 1. They were as follows :
Tli6)ael Stof)lf)aa^y 142 pp.
2)ie aWarquife oon D., 65 pp.
2)aS ©rbbebcn in Sl^Ui, 21 pp.
2)ie SSerlobung auf ©t. iDomingo, 52 pp.
2)ag Settelwcib oon Socarno, 3 pp.
2)cr ginbling, 23 pp.
2)ie l^eilige ©acilie, ober bie ©ewalt ber SWufi!, 17 pp.
2)cr 3n)cilampf, 47 pp.
181 1, ©cbic^tc, 63 pp. Some of Kleist*s best known poems are Dbc
auf ben SBiebereinaug bcS ^onigS im SBinter 1809; Sin bie ^5^
nigin won ^reufien (1810); ©ermania an il^re ^inber (1809);
ilriegSlieb ber 2)eutfc^en (1809); 2)a3 le^te Sieb, published in
1818. It is not customary to think of Kleist as a lyric poet;
his poems are either eulogies or anathemas in verse, they were
not written to be sung.
KARL THEODOR KORNER
Bom September 23, 1 79 1 , at Dresden, the son of C. G. Komer,
Schiller's great and good friend. Carefully trained at home as a
youth, he studied (1808-18 10) under A. G. Werner at Freiberg.
Entered the University of Leipzig in 18 10 to study law, was soon
dismissed. Came in 18 11 to the University of Berlin to study
philosophy and history. Went then to Wien, where he associ-
ated with Friedrich Schlegel and Wilhelm von Humboldt and
was made poet of the Court Theatre in 181 2. Became engaged
to the actress Toni Adamberger. Followed then the call of Fried-
rich Wilhehn III and enlisted as a volunteer, March 19, 18 13,
at Breslau, joining Liitzow's famous company. Seriously wounded
at Kitzen on June 7, 18 13. Mortally wounded at Gadebusch.
Chivalric as a man, of great promise as a poet, of undaunted
'courage as a soldier, he reaped the rich reward of the poet-
martyr. A man of wonderful productivity. Within fifteen
months he finished 6 tragedies, 5 comedies, the librettos of
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several operas, a number of poems. Schiller was his dramatic
model, also Kotzebue and Z. Werner. His " Rosamunde,"
" Toni " (after Kleist's " Verlobung ") and " Zriny " are still
performed in Leipzig and Dresden on the anniversaries of
his birth and death. His poems have been set to music by
K. M. V. Weber, Himmel and Schubert. He died at Gadebusch,
August 26, 18 1 3.
BIBLIOGRAPHY
2)a§ (^ra6 Bei 2B5b5elin; obcr ^^eobor Corner unb bie Sii^fotoer.
By Friedrich Brasch, Schwerin, 1861. 300 pp.
2;^eobor Corner, ©ein Sebcn unb fcine JDid^tungcn. By Adolph Ko-
hut, Berlin, 1890. 319 pp.
X^eobor Corner jum 23. (September 1891. By Rudolf Brockhaus,
Leipzig, 1891. 197 (quarto) pp. Contains many valuable Korneriana.
©drillers (Sinflug auf 2;i|eobor Corner. By G. E. Reinhard, 1899.
140 pp.
'i:^eobor ^brner unb bie ©etnen. By W. Emil Peschel and Eugen
Wildenow, Leipzig, 1898. Two handsomely and artistically illustrated
volumes.
Xl^eobor ^brner in aWedlcnburg. By Fr. Latendorf, Schwerin, 1890.
36 (large) pp.
Mxnet^ SBerle. Two volumes, Stuttgart, 1848.
^drnerS ffimmtUd^e SBerle. Edited by Hermann Fischer, 4 volumes,
Stuttgart (Gotta), no year. Most convenient place to read Korner.
2:i^eobor ^brnerS fdmmtlic^e SSerle. Edited by Karl Streckfuss, with
a good biographical sketch by G. A. Tiedge (pp. xxx-lxvii), Berlin, 1861.
One volume, ^37 closely printed pages.
X^eobor ;^brnerg Xob, ober baS ©efed^t bei ®abe6uf(^. By Johann
Nepomuk Adolph von Schaden, no place, 181 7. This work is a drama,
on Komer*s death, in one act. Such poetizations of poets are common
in German literature; there are over 200 such instances. Goethe,
Schiller, Lenz, Kotzebue, W. Schlegel, Novalis, Z. Werner, E. T. A.
Hoffmann, Grillparzer, Immermann, Tieck, Hauflf, Alexis, Fouqu^,
Waiblinger, Gutzkow, Eichendorff, Raupach, Bettina, Laube, Halm,
Griin and Grabbe are the main Romanticists who wrote such works.
2:^eobor 5lbmer. By Adolf Calmberg, Leipzig (Reclam), no year.
A drama in four acts on Korner and his contemporaries. Like the
preceding.
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READING LIST
I&I2. S^^'^P' tragedy in 5 acts, no pp.
181 2. Sflofamunbe, tragedy in 5 acts, 100 pp.
18 1 2. ^onif drama in 3 acts, 50 pp.
181 3. 2)er griine 2)omino, comedy in Alexandrines in i act, 25 pp.
18 1 3. 2)er ^lac^trodd^ter, farce in i act, 25 pp.
1 81 3. 2)cr SScttcr aug SBremcn, play in i act, 25 pp.
181 3. Seier unb ©d^toert, collection of patriotic poems, about 50 pp.
NIKOLAUS FRANZ NIEMBSCH, EDLER VON STREHLENAU
(NiKOLAUS LeNAU)
Bom August 13, 1802, at Csatad near Temesvar in Hungaiy.
Of remote Slavonic ancestry, Magyar by birth and early training,
German in temperament. " Niembsch " means, it is said, " der
Deutsche." Father, dissipated, died in 1807. Mother married
(181 1) Karl Vogel and moved to Pest. Studied (181 1-1816) at
\ht gymnasium of the Piarists in Pest, went then to Tokaj, studied
(1821-1831) at the universities of Wien, Pressburg, Altenburg,
Heidelberg, this and that without ever getting a firm hold on
any one subject Went (183 1) to Schwaben, kindly received by
G. Schwab, J. Kemer, K. Mayer. Came to the United States,
landed at Baltimore (October 8, 1832). Came with great expec-
tations, thoroughly disappointed: landscapes were too wild for
him, the American always " had a cigar in his mouth and a plan
in his head." Returned to Germany in June, 1833. Went to
Schwaben and spent the remainder of his sane days oscillating
between Wien and Stuttgart. Fell in love in succession with
Charlotte Gmelin, Sofie Lowenthal, Caroline Unger, and Marie
Behrends to whom he became engaged. Never married. Be-
came insane in 1844 in Stuttgart, was placed in the asylum in
Winnenthal (October 22, 1844), removed (1847) to the asylum
at Oberdobling near Vienna, where he ended his days in com-
plete mental darkness. The greatest l)nic writer of Austria,
skilled in music, — it has been said that his poems remind one
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THE SIDE LIGHTS
of Chopin, — unsettled, visionary, reflective, subjective, sensitive,
irritable, artistic. His lyrics have a strong epic strain. Irregular
as a poet ; some of his poems are felt, others made. Given to
florid language and exaggerations. A profound student of nature ;
studied nature more than man. Has been compared, by Ana-
stasius Griin, to Holty and Byron. He lived Romanticism.
One of the most talked of men in his day in Germany. Pre-
ferred broad subjects. His " Don Juan " gave Richard Strauss
the theme for his tone poem of like name. He said: SDieine
fcimmtlid^en ©d^riften finb mein fdmmtlid^e§ Scben. Died
August 22, 1850.
BIBLIOGRAPHY
ScnauS i^eben. By Anton X. Schurz, 2 volumes, Stuttgart, 1855.
Contains many letters.
Senau in ©d^roabcn. By Emma Niendorf, Leipzig, 1855. 327 pp.
3ur Stograp^ie ScnauS. By L. A. Frankl, Wien, 1885. 144 pp.
^icolaug Senau. By Theodor Opitz, Leipzig, 1850. 51 pp. Critical.
SenauS grauengcftaltcn. By A. W. Ernst, Stuttgart, 1902. 410 pp.
Senau al3 9iaturbic§ter. By Theodor Gesky, Leipzig, 1902. 58 pp.
Treatment of Nature in the Works of Nikolaus Lenau. By Camillo
von Klenze, Chicago, 1903. 83 (large) pp.
Lenau and Young Germany in America. By Thomas Stockham Baker,
Philadelphia, 87 (large) pp. Bibliography for Lenau, pages 28 to 30.
SenauS fdmtlic^e SBcrfe. Edited by Anastasius Griin, Stuttgart
(Cotta), no year. The best place to read Lenau. Volume i contains
(pp. 1-90) an excellent biographical sketch.
READING LIST
1836. gauft, tragic poem, 100 pp.
1837. @Qt)onarolQ, narrative poem, 120 pp.
1842. 2)ie 2(l6igenfer, narrative ppem, 100 pp.
1844. 2)on 3uan, dramatic poem (incomplete), 32 pp.
1844. ©ebic^te, about 500, dating back to 1827. Though Lenau's lyrics
have not generally found favor with composers, his poem en-
titled 93itte, beginning SBcil' auf mtr, bu bunllcS Sluge, has
been set to music 116 times. The composition by Robert Franz
is possibly the best.
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OUTLINE OF GERMAN ROMANTICISM
EDUARD FRIEDRICH MORIKE
Bom September 8, 1804, at Ludwigsburg. Father a physician,
mother a daughter of a preacher. Remotely related to Luther.
Entered the Latin school of Ludwigsburg in 181 1. Father died
in 18 1 7 leaving family under economic pressure. Entered then
ihit gymnasium illustre in Stuttgart ; a weak student. Confirmed
in 18 18. Attended the Seminary of Urach from 1818101822.
Formed here a lifelong friendship with Wilhelm Hartlaub.
Wilhelm Waiblinger also became well acquainted with him ; the
friendship was broken in 1825. Attended from 1822 to 1826
the theological seminary at Tubingen. Associated here with
Fr. Th. Vischer and D. Fr. Strauss. A wandering and dis-
satisfied preacher from 1827 to 1843. Held vicarial positions
at Oberboihiogen, Mohringen, Pflummem, Plattenhardt, Owen,
Eltingen, Ochsenwang, Weilheim, Oethlingen, Cleversulzbach.
Retired froni the ministry in 1843. Became engaged to Luise
Rau in 1829, broke, the engagenteM in 1833. Mother died in
1 841. Travelled for his health and was a frequent guest at the
Kemer House in \Wftis^g, where he met Uhland, Karl Mayer,
Strauss and Hermani). Kurz. Moved to Schwabisch-Hall in 1843,
to Mergentheim in 1844. Met here Gretchen von Speeth, whom
he married November^,25, 185 1. Went then to Stuttgart and be-
came teacher of literature at the Satl^arinenftift. His marriage
was not happy ; his wife was a Catholic, he a Protestant. Sepa-
rated in 1873 ; reconciled shortly before his death. Received
a number of honors late in life: doctorate and professorship
from Tubingen, membership in Bavarian and Swabian orders,
and a pension. Intimately associated with Moritz von Schwind,
Th. Storm, Paul Heyse, Hebbel. Retired from his position in
Stuttgart in 1866. Lived then temporarily in Lorch, Niirtingen,
Fellbach and Bebenhausen. His life was simple in the extreme.
Never physically strong. Translated, edited, drew. Gentle,
dreamy, artistic, calm and retiring. One of Germany's greatest
lyric writers. His songs have been set to music by Hugo Wolf,
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THE SIDE LIGHTS
Schumann, Brahms, Franz, Bruch, Eyken, Herzogenberg, Max
Reger, Draseke, D*Albert, Kahn, Weingartner and Silcher. It
is, however, Hugo Wolf with whose compositions we associate
the name of Morike, just as we associate Schubert with Goethe,
Schumann with Heine. Influenced by Calderon, Ossian, Shake-
speare, Goethe, Novalis, J. Kemer, E. T. A. Hoffmann and Jean
Paul, he has at the same time been compared to many poets ;
he began to write lyrics when quite young. His poems are not
confessions, they are the outpourings of his heart and soul, not
of his brain in reflection. As a novelist, we know him now
especially by his picture of Mozart, one of the most delightful
bits of literature written in the German language, and his longer
Siiinftlerroman, " Maler Nolten," a work begun early and never
finished. Of this novel it has been said : ^n 9tnlage unb ffiom:=
pofition berii^rte fid^ SKorife mit ®oet^e, in ©toff unb ©til
mit ber SRomantif, in feinem d^arafteriftifd^en (S>ti)ali abet n^ar
SKaler 9?oIten be§ 3!)id^ter§ t)olIe§ Sigentum. Though not
formally connected with the Romantic movement, he was one
of the most Romantic of poets. His withdrawal from the world
was not a pose, he wanted to be alone with his grief and his joy.
His kindly attitude is shown by his championing the cause of
the mystic beauty, Clara Maria Meyer, so long as it was prudent.
He died at Stuttgart, June 4, 1875.
BIBLIOGRAPHY
SKdrifcg SBcrle. Edited by August Leffson, 4 parts in 2 volumes,
Berlin (Bong), no year (recent). Contains good general and special
introductions.
®buarb aWbrifcS Sebcn unb SScrfe. By Karl Fischer, Berlin, 1901.
241 (large) pp. Illustrated.
®buarb SWdtife. By Walther Eggert-Windegg, Stuttgart, 1904.
105 pp.
®buarb aWbrife in ©c§n)(l6if(l^=5aa unb SKergent^eim (1843-1847) nac^
ncuen 2)ofumenten bargeftellt. By Walther Eggert-Windegg. In £u'
phorion^ Volume 14, pages 595-611 and 764-778.
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OUTLINE OF GERMAN ROMANTICISM
SWbrife unb ©octl^e ; cine litetarifd^e ©tubie. By Heinrich Ilgenstein,
Berlin, 1905. 143 pp. The second edition.
(Sbuarb WoviU al3 ©clcgen^citSbid^tcr. By Rudolf Krauss, Stuttgart,
1895. "8 pp.
JDeutfd^c Sitcraturgcfc^td^te. By Alfred Biese, Mtinchen, 191 2. Vol-
ume 2, pages 649-677. An excellent study of Morike. .
©cfammelte ©d^riften won @buarb SWdrifc. Four volumes, Leipzig,
1897-1902. Vol. I contains the 6th edition of the first half of " Maler
Nolten," Vol. 2 the 5 th edition of the second half, Vol. 3 the 6 th edition
of his novelettes, Vol. 4 the i6th edition of his poems.
2)u bift Drplib mcin Sanb. SluSgcrofi^Itc ©ebid^tc unb ©rjiil^lungcn.
Edited by Will Vesper, DUsseldorf, no year (recent). 296 pp. Illustrated.
©buarb aWorife. 3n>ci fragmcntarifd^e ?rof abic^tungen au3 bcm 3la^
laj. Edited by Harry Maync. In Euphorion^ Volume 9, pages 699-707 ;
and Volume 10, pages 180-193.
©buarb SWdrife. ©ein Sebcn unb 2)i(i^ten. By Harry Maync, Stutt-
gart, 191 3. 443 pp.
READING LIST
1832. SKaler S^ioltcn, novel, 650 pages. Revised from 1854 to 1875.
Completed by Julius Klaiber in 1876. iDe^ tctc^en £icberfom=
metd (e|te Stofe, erblii^enb im ge^eimften ^al t)on ©c^roaben.
— Theodor Mommsen.
1836. 2)cr ©d^al, short story, no pp.
1 838. ©ebid^te. Morike first began to publish poems in the Morgenblatt of
1828. This edition contained 143 poems, that of 1848 contained
187, that of 1856 contained 200, that of 1867 contained 226.
1839. Sucic ©elmerot^, short story, 30 pp.
1852. 2)aS ©tuttgartcr jQu^elmfinnlcin, fairy tale, 141 pp.
1856. aWojatt auf ber S'leife nad^ ?rag, short story, 105 pp.
WILHELM MULLER
Bom October 7, 1794, at Dessau; son of a master-tailor.
Attended \ht gymnasium of Dessau, entered in 18 12 the Uni-
versity of Berlin, studied under F. A. Wolf, Boeckh, and Solger.
Entered the army as a volunteer in 18 13, returned to Berlin in
18 14 and took up the study of Old German literature. Fell in
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THE SIDE LIGHTS
love with Luise Hensel. Started in i8 17 on a journey to Egypt,
but got no farther than Rome. Returned to Berlin in 18 19, be-
came a teacher of ancient languages at the gymnasium of Des-
sau in 1820, later librarian at the ducal library. Married in 182 1
a granddaughter of Basedow. Travelled — Weimar, Dresden,
Wiirttemberg. Father of Max Miiller. Personally acquainted
with Amim, Brentano, the Grimms, Fouqu^, Tieck, Loeben,
Malsburg, Goethe, Schwab, Uhland and Kemer. Like Holder-
lin, Waiblinger, Schwab, Chamisso, Luise Brachmann and King
Ludwig of Bavaria, he was a great admirer of Greece. His
songs are pure, fresh, human, clear, melodic, German. Often
set to music, especially by Franz Schubert The traditional
classification of his songs is SRUlterlieber, SBinterlieber, Sdnb^
lid^e Sieber, Jafettieber, ©ried^enlieber. Influenced by Goethe,
Uhland, Eichendorff and the German SSotf^tieb. Concerned
himself with English literature. Editor of some importance, and
wrote on historical subjects and the " Nibelungenlied." He wrote
300 epigrams. Died October i, 1827.
BIBLIOGRAPHY
SScrmtfd^te ©d^riften uon 2Btll^clm SWiiUer. Edited with biographical
introduction by Gustav Schwab, Leipzig, 1830. Five (small) volumes.
Wilhelm Miiller and the German Volkslied. By Philip Schuyler
Allen, Chicago, 1901. 159 pp.
SBU^clm aWilller. ©ein Sebcn unb 2)ici^ten. By Bruno Hake, Berlin,
1908. 59 pp. (Teildnick.)
%\t ^unftanfc^auung SSill^elm 3Kiltter8. By Alloys Joseph Becker,
Leipzig, 1908. 89 pp.
READING LIST
1827. ©ebid^tc oon SBill^elm SWiltter. Complete critical edition, edited
with introduction and notes by James Taft Hatfield, Berlin,
1906. 444 pages of poems. Best place to read Miiller's poems.
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OUTLINE OF GERMAN ROMANTICISM
JOHANN NEPOMUK EDUARD AMBROSIUS NESTROY
Bom December 7, 1801, at Wien. Came of good parentage
and was well educated till his twentieth year, when he went on
the stage. He played and wrote plays the rest of his life. Acted
and sang in Amsterdam, Briinn and Graz. Engaged at the
Theater an der Wien from 1831 to 1845. He went then to the
Leopoldstadtertheater, which he himself conducted from 1854 to
i860. Achieved great success as a comedian and writer of
comedies, farces and parodies. His success proved the undoing
of his contemporary and fellow-patriot Raimund. His unwritten
motto was, " Everything is admissible that is not found out."
By incorporating this idea in his plays, by laughing at every-
thing, even crime, he lowered the ethical standard of Wien.
Twice married, first unhappily and then illegally. His plays
typical of the Viennese spirit. Had no connection with the
Romantic movement; parodied in a negative way Raimund's
positive, popular, optimistic Romanticism. Wrote 67 pieces.
Died at Graz, May 25, 1862.
BIBLIOGRAPHY
9icftro93 SBcrle. Edited by Otto Rommel, two volumes in one, Ber-
lin (Bong), no year (recent). The best edition. Biographical introduc-
tion, pages i to Ixxxvii. Contains separate introductions to the individual
works.
Slug 52cftro9. @ine flcine ©rinnerungSgabe. By L. Rosner, Wien, no
year. 58 pp. Contains a number of Nestroy*s sayings.
READING LIST
1833. 2)er b5fe ®eift SumpaciuaQabunbu^ obcr baS (iebcrlid^e illecblatt,
fairy extravaganza with songs, 40 pp.
1 84 1. 2)aS 3Kabl au3 ber SSorftabt, farce in three acts, 70 pp.
1842. (Stnen Suj wtU er ftd^ madden, farce with song in four acts, 71 pp.
1848. grci^eit in ^rft^toinfcl, farce with song in two parts, (i) 2)ie Slca
solution, (2) JDic 3leaftion, 67 pp.
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THE SIDE LIGHTS
KARL AUGUST GEORG MAX, GRAF VON
PLATEN-HALLERMUNDE
Bom October 24, 1796, at Ansbach. Father a Prussian
forester, mother daughter of a court marshal at Ansbach.
Family belonged to the poor nobility. Entered the cadet corps
at Miinchen in September, 1806, became a page in 18 10 and as
such acquired a good general education, especially in languages.
Became a lieutenant in the private regiment of King Maximilian
in 18 1 4, and after Napoleon's flight from Elba in 18 15 he fol-
lowed his regiment to the field, but saw no actual fighting.
Visited Switzerland in 18 16 and 18 17. Entered the University
of Wurzburg in 18 17 to study natural sciences, the University
of Erlangen in 18 18, where he became an enthusiastic disciple of
Schelling. Remained in Erlangen until 1826, made journeys to
various parts of Germany and Italy, met at various times Jakob
Grimm, Goethe, Uhland, Riickert Lived most of the time from
1826 till his death in Italy. Pensioned by the Bavarian king and
made a member of the Bavarian Academy of Sciences. Of a
noble nature, had only one brief love affair, awkward in his
habits, paid little attention to titles, an o^^ponent after 1826 of
Romanticism ; the author of some stirring ballads, the Winkelried
of poetry, he can never become popular because of the cold
dignity and severe polish of his verses. Skilled in the employ-
ment of Oriental verse and strophe forms, like Riickert. At-
tacked Immermann and was attacked by Heine. Kept a diary
from 18 1 3 till a few days before his death. Made a mistake in
trying to satirize modem conditions in classical language. Died
at Syracuse, December 5, 1835.
BIBLIOGRAPHY
Sluguft ®rof OOn ^(atcnS famtlid^C SBctfe. Critically edited by Max
Koch and Erich Petzet, 12 volumes in 4, Leipzig (Hesse), no year.
Contains biographical introduction, notes, pictures of Platen, facsimiles
and special introductions.
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OUTLINE OF GERMAN ROMANTICISM
platens famtlid^c SBerle. Edited by Karl Goedeke, 4 volumes,
Stuttgart (Cotta), no year.
^lateng bramatifc^er Slac^Iaf;. Edited by Erich Petzet, Berlin, 1902.
Introduction, pages i-xcvii; Slac^laf;, pages 1-189.
Sluguft ®raf v. platen. ®in 93ilb feineg geiftigen ©nttoidclungggana
ge3 unb feincg bid^tcrifd^cn ©c^affeng. By Rudolf Schlosser, Miinchen,
1 910. A monumental work. Volume I covers the period from 1796 to
1826 and consists of 765 large pages. Volume II (191 3) consists of 572
pages, including index.
platen gorfd^ungcn. By Albert Fries, Berlin, 1903. 126 pp.
platens Sitteraturs^ombbien. By Oskar Greulich, Luzem, 1901.
132 pp.
platens romantifc^c ilomobien, il^re ^ompofition, DueHen unb S5or=
bilber. By Carl Heinze, Marburg, 1897. 67 pp.
platens ©teUung in ber @ntn)i(f elung ber beutf c^cn 9iationalUtteratur.
By Johannes Marbach, Weimar, 1856. In Wetmarisches Jahrbuch fur
daitsche Sprache^ Liiieraiur und Kunst, Volume 4, pages 43-64.
2)eutfci^e ©l^araftere. By Rich. M. Meyer, Berlin, 1897. Platen, pages
128-138.
©tubien ju platens S3attaben. By H. E. K. Stockhausen, Berlin,
1899. 62 pp.
platen in feincnt SSerl^filtniS ju ©oetl^e. By Rudolf Unger, Berlin,
1903. 190 pp.
©efammelte 3luffS^e. By Franz Kern, Berlin, 1895. Platen, pages
164-185.
©tubien ju ®raf platens ©ofelen. By Hubert Tschersig, Leipzig,
1907. 47 PP-
^(Qtend ^Qd^bilbungen au3 bem ^iroan beg ^aft3. By Friedrich
Veit, Berlin, 1908. 224 pp.
platens politifd^e 2(nf(^auungcn in i^rcr (Sntroidelung. By Heinrich
Renck, Miinchen, 1907. 52 pp.
2)ic ^agcbttd^cr bcS ©rafen 21. d. platen, auS ber ganbfd^rift beS
2)ic^ter3. Edited by G. v. Laubmann and L. v. Scheffler, Stuttgart. Two
volumes, 1896 and 1900. One of the most important diaries written in
German.
READING LIST
1823. 2)er gldferne ^antoffel, heroic comedy in 5 acts, 75 pp.
1824. 2)er ©c^a^f beS Sl^ampfinit, comedy in 5 acts, 65 pp.
1826. 2)ie oer^ftngniSoone ®abel, comedy in 5 acts, 85 pp.
1829. 2)er romantifd^e DebipǤ, comedy in 5 acts, 85 pp.
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THE SIDE LIGHTS
1835. ©ebic^te. Platen began to publish poems as early as 181 7. He
tried many different forms successfully. He wrote odes, bal-
lads, romances, epic poems, poetic epigrams, Persian ghazals,
and so on. His poems have been set to music rarely; Lowe,
Brahms and Kahn are the only composers of any importance
who have written music for his rigid verses.
FERDINAND RAIMUND
Born June i, 1790, at Mariahilf, a suburb of Wien. Poorly
educated. Placed as an apprentice in a candy and cake store
that supplied the Burgtheater with refreshments; in this way
"introduced" to the theatre. Became an actor in 1808 and
spent his life playing and writing plays. Engaged in 18 13 at
the Josef stadtertheater in Vienna, 18 17 at the Leopoldstadter-
theater. Played guest roles in the leading theatres of Miinchen,
Hamburg and Berlin in 1830, 1832, 1835, 1836, with great suc-
cess. Always wanted to become a tragedian and to write trage-
dies; spent his life playing comic roles and writing comedies.
Frequently employed allegory. Married unhappily in 1820.
Had no personal connection with the Romantic movement.
Pictured the better side of people in his plays. The opposite
of Nestroy in some ways, of whose success he was extremely
jealous. Has been called the ©driller ber Sofatftiidfe. Took his
life at Pottenstein, September 5, 1836.
BIBLIOGRAPHY
gerbinanb SlatmunbS fammtltd^c 2Ber!e. Edited by Carl Glossy and
August Sauer, Wien, 1881. Three volumes.
©efammeltc S'lebcn unb 2luff(i|c. By August Sauer, Wien, 1903.
400 pp. Raimund, pages 231-274.
3tn Sal^rl^unbert ©riUparaerS. By Adam Muller-Guttenbrunn, Wien,
1893. 233 pp. Raimund, pages 97-116.
dtaimunbd SBerle. One volume in 3 parts, edited with biographical
introduction and special introductions to the separate works by Rudolf
Fiirst, Berlin, no year (recent).
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OUTLINE OF GERMAN ROMANTICISM
READING LIST
1824. 2)er 2)iatnant bc8 ©ciftcrlbnigS, dramatic extravaganza, no pp.
1826. 2)er 93QUcr a(g 3WtUtondr, Romantic fairy drama, 100 pp.
1828. 2)er 2l(pcnl6nig unb bcr aWcnfd^cnfcinb, Romantic fairy drama,
240 pp.
1834. 2)ct $erf(i^n>enber, fairy drama, 155 pp. (His best work.)
JOHANN MICHAEL FRIEDRICH RUCKERT
Bom May 16, 1788, at Schweinfurt am Main ; his father was
a lawyer. He spent a happy childhood at Oberlauringen from
1792 to 1802. Studied at the gymnasium of Schweinfurt from
1802 to 1805. Entered the University of Wurzburg in 1805
to study law, but soon took up philology. Studied then at
Heidelberg, Gottingen and Jena; from Jena he received the
privUegium legendi on March 30, 181 1. He left Jena after two
semesters and became a professor at the gymnasium of Hanau ;
left here at the end of the first year and went to Wurzburg. Ill
health prevented his participation in the campaigns against
Napoleon in 18 12 and 1813. Editor of the Co\X3i Morgenbiatt
in Stuttgart from i8i5toi8i7. Went on a journey then through
Switzerland ; went to Rome, associated with the Romantic artists
then living there. In 18 18 he went to Vienna, where he studied
Arabic, Turkish and Persian under Hammer-Purgstall. Returned
home and married (Dec. 26, 182 1) Luise Wiethaus-Fischer. His
domestic life was extremely happy. At the suggestion of King
Ludwig of Bavaria he was appointed professor extraordinary of
Oriental languages at the University of Erlangen in 1826, where
he remained until 1841, when Friedrich Wilhelm IV called him
to the University of Berlin in a similar capacity. Berlin had but
little attraction for him as a place in which to live. He lectured
during the winter semesters and lived at Koburg in the sum-
mer. In 1848 he left Berlin entirely and retired to Koburg.
His seventy-fifth birthday was solemnly celebrated throughout
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THE SIDE LIGHTS
Germany. Only a scholar and lyric writer ; as a lyric poet, he is
quantitatively Germany's greatest. No other German ever wrote
so many poems on such a wide range of topics. He wrote too
much and filed too little, so that, though some of his poems are
the most beautiful in the German language, others are ragged.
He poetized anything, and, like Herder, looked upon poetry as
a universal affair. Though he poetized the life of the child and
the home, he has never become a popular poet ; yet his lyrics
have found favor with Robert and Clara Schumann, Schubert,
Radecke and Brahms. He wrote much on events of the day.
The War of Liberation inspired nothing superior to his ©el^ar^
nifd^tc ©onctte. A foe of sentimentality and bombast, he was
nevertheless a friend of Jean Paul, as he was also of Fouqud
and G. Schwab, and had great influence on Platen. He used
more forms in his lyrics than did Tieck or the Schlegels or
Eichendorff or Uhland ; he was wiser than Novalis or Holderlin.
The two things that connect him most immediately with Roman-
ticism are the verse and strophe forms he made popular, or in-
troduced, and the number of languages he knew. In this respect,
he was the visible embodiment of the aims and ideals of the
older Romanticists. He used the sonnet, terza rima, ottava
rima, ritomello, sidliana, tenzone, ghazai, rubai, sloka, tnakatnah,
and other odd forms. As to his linguistic knowledge, Fr. Kummer
says: ®r mar nid^t nur bc§ ®ried^ifd^cn, Satcinifd^en, ber
moberncn unb flatJifd^cn ©prad^en 2Weiftcr, fonbern cr ^tte
fid^ aud^ bc§ 5Pcrftfd^en berart bemftd^tigt, ba§ cr perfifd^ bid^ten
f onntc ; er fang bie Sicbcr ber 9lrabcr nad^ unb bcmdttigte ba§
©an^frit bie ^eilige ©prad^e ber S^ber, baju bel^errfdbte er
nod^ ba§ Surbifd^e, Slrmenifd^e, Slfgl^anifd^e, bie ©prad^c ber
3enbat)efta, ba§ 2»ataifd^e, SUrfifd^e unb Soptifd^e, bie 9}eri)er:=
fprad^e, ba§ 9llbanifd^e, Sittauifd^e unb ginnifd^e, enblid^ ba§
©^rifd^e, S^atbdifd^e unb ^ebrfiifd^e. Yet with all this he was a
genuine German of Franconian blood. One can most reasonably
say that with his death Romanticism as a movement was over.
He died at Koburg, January 31, 1866.
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OUTLINE OF GERMAN ROMANTICISM
BIBLIOGRAPHY
griebrid^ diixdext^ ^e5en unb 2)i(i^hingen. By Conrad Beyer, Koburg,
1866. 302 pp.
griebrid^ Stilclert. ®in 93iograp§ifd^eS 2)enlmal. By Conrad Beyer,
Frankfurt am Main, 1868. 471 pp.
griebrid^ dlMexi unb feine SBerle. By A. R. K. Fortlage, Frankfurt
am Main, 1867. 182 pp.
2)id^ter, ^atriard^ unb Slitter. SBa^rl^eit ju diMcxi^ 2)id^tung. By
Karl Kiihner, Frankfurt am Main, 1869. 208 pp.
griebrid^ diudttt, ®in beutfd^et 2)id^tcr. By Paul Mobius, Leipzig,
1867. 16 pp.
griebrid^ 9lti(fcrt in ©rlangen. By Friedrich Reuter, Altona, 1888.
63 PP-
griebrid^ 9lu(fert unb feine Sebeutung alS Sugenbbid^tcr. By Eugen
Herford, Thorn, 1893. Pages 33 to 52. (In a ^rogramm.)
griebrid^ Sliicfert alS S^riler. By J. E. Braun, Siegen, 1844. 116 pp.
griebrid^ SliitfertS ©ebanfenl^ril nad^ il^rem p^ilofopl^ifd^en 3«l^alte
borgefteUt. By L. G. Voigt, Annaberg, 1897. no pp.
SuStiitfertSSSerSfunft. By Ernst Symons, Berlin, 1876. 31 (quarto) pp.
Sileue- aJlitt^eilungen liber griebri(^ Sliidtert. By Conrad Beyer, Leip-
zig* 1873. 532. pp.
SliitfertsS'lad^lefe. Published by Leopold Hirschberg, , Weimar, 191 1.
Two volumes in the series of the " Gesellschaft der Bibliophilen," well
printed and annotated.
©riauterungen au ^riebrid^ S'lildtertS ©ebid^ten in SluSwa^l. By Georg
Funk, Leipzig, 1907. 220 pp.
3fliiderts©tubicn. By Robert Boxberger, Gotha, 1878. 315 pp.
griebrid^ Sti^tfertg SBerfe. Editied by Ludwig Laistner, 6 volumes,
Stuttgart (Cotta),. no year (1895). I*^^ most convenient place to read
Riickert.
griebrid^ SliltfertS poctif d^e SBerlc. Twelve volumes in 10 parts, Frank-
furt am Main,^i882. Uncritical but fairly complete. Contains Riickert's
dramatic poems. Impressive as a collection of poems by one poet.
READING LIST
18 13. gilnf SMcirlein, popular poems for children, 14 pp.
18 1 4. 2)eutfd^e ©cbid^te von grcimiinb S'laimar (Ruckert's pseudonym),
includ||4:he " Geharnischte Sonette," about 100 pp.
1834. SicbeSfriif)Iing, about 300 pp.
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THE SIDE LIGHTS
1837. aWalatnen bcS garirt, about 300 pp.
1839. 2Bei3§ctt beS 93ral^tnancn, about 600 pp., Cotta, Volumes 5 and 6.
Riickert wrote also dramas entitled " Napoleon," ** Saul und
David," " Herodes der Grosse," " Heinrich IV " and " Christo-
fero Colombo." But these are only dramatic " poems." All of
his works are poems. He wrote poems for over 50 years.
GOTTLOB FERDINAND MAXIMILIAN GOTTFRIED
SCHENK VON SCHENKENDORF
Bom December 11, 1783, at Tilsit. Father a military official,
mother daughter of a preacher. Entered the University of
Konigsberg in 1798, left, however, soon after and studied
under a country vicar; returned to Konigsberg in 1804, then
studied farming at Waldau and returned to Konigsberg after
passing his state examination in 1806. Associated with Frau von
Kriidener, who had some influence on him by way of increasing
his mystic tendencies, and Jung-Stilling. Moved to Karlsruhe,
where he married in 181 2. Was present at the battle of Leipzig,
could not take active part, however, since he had previously lost
the use of his right hand in a pistol duel. Was made government
councillor at Coblenz in 1815. Published (1807) at Konigsberg
with Ferdinand von Schrotter ®ie ^t^ia^ on which Fichte,
Amim and J. D. Gries also worked. Resembles Amdt and
Komer, but is deeper, truer, more poetic, more fanciful than
they. Strove always for a united Germany. One people, one
empire, one language, one God was his slogan. Connected
with Romanticism by his mediaeval visions, his mysticism, his
amalgamation of religion and patriotism. Died at Coblenz,
December 11, 1817.
BIBLIOGRAPHY
aKajt)on ©d^cttfenborfS Sc5cn, "iS^exiUxi unb 2)i(i^tett. By E. A. Hagen,
Berlin, 1863. 251 pp.
®itt S3eitrag ju ciner Stogrop^ie SWaj t)on ©d^cnfenborfS. By Alex-
ander Drescher, Mainz, 1888. 35 (large) pp.
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OUTLINE OF GERMAN ROMANTICISM
9{eue 9eitrftge ju Wlai oon e(^en!enbotfd Seben, ^en!en unb ^id^ten.
By Paul Czygan, in Euphorion, 1906, pages 787-804; 1907, pages
84-101, 33^349» 577-587-
3u 3Was ©on ©dJcnlcnborfS ©cbid^ten. By Robert Sprenger, in
Zeitschrift fur deutsche Philologie, 1904, pages 236-244.
aWaj ©on ©djcnicnborfs f fimmtltdjc ®cbi(^tc. First complete edition,
Berlin, 1837. 394 pp.
READING LIST
181 7. ©cbidjtc ©on aWa^ ©on ©d^cnfcnborf. Halle, no year. 232 pp.
Contains a brief biographical sketch and scanty notes. Poems
are carefully divided into four chronological periods : Konigs-
berg, 1806-12 ; Karlsruhe, 1813; Karlsruhe, Aachen, 181 4-1 5;
Coblenz, 181 5-17. Contains also a niunber of poems on
Schenkendorf by Amdt, Fouqu^, Friedlander, and Eberhard
von Groote. Of Schenkendorf s poems, the following ten are
the best known : ajhittetfprad^c ; ®tn ©drtner ge^t tm ©artcn ;
%zt @anbn)irt ©on ^affe^er; ®d {lingt etn ^eUev ^lang; t^ei^
^eit, bie id^ meine; 3" bent n>i(ben ^egeStanse; ^(aget nid^t,
ba( id^ gef alien; ^tnxi aUe untreu n>erben; SBie mir beine
Reuben n)in!en ; 3n bie ^evne mdc^t' td^ jiei^en.
ERNST KONRAD FRIEDRICH SCHULZE
Bom March 22, 1789, at Celle in Hannover. Entered the
University of Gottingen in 1806 to study theology, but soon
turned to philology and found a worthy patron in Bouterwek.
Fell in love with Cacilie Tychsen, after whom he titled his epic.
She died in 18 12, and he became a volunteer (18 13) in a
Hannoverian regiment and fought against Davoust in Hamburg.
Returned to Gottingen, made a tour along the Rhine in 18 16.
Taking his cue from Novalis's " Ofterdingen," Schulze repre-
sented a sort of compromise between Wieland and the Romanti-
cists ; he called himself an opponent of the false Romanticists.
He was the favorite poet of women from 18 15 to 1840. His
poetry is smooth and rhythmical in form without having sub-
stantial and interesting content. He died at Celle, June 26, 18 1 7.
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BIBLIOGRAPHY
©citnmtlid^e poctifd^c SBctfc oon ©rnft ©d^ulae. Edited by F. Bouter-
wek, Leipzig, 1822. Four volumes in 2 parts. Biographical introduction
in Volume i, pages i to xviii.
(gntft ©d^ulacg SBejaubertc S'lofe. By Adalbert Silbermann, Berlin,
1902. 50 pp.
READING LIST
18 1 8. @(ici(ie, romantic epic in 20 cantos, 724 pp.
1818. ^ie Besauberte 9{ofe, romantic poem in 3 cantos (prize poem),
84 pp.
GUSTAV BENJAMIN SCHWAB
Bom June 19, 1792, at Stuttgart, son of a professor at the
Karlsschule. Studied (1809-18 14) philosophy, philology and
theology at the University of Tubingen. Travelled (1815-1817)
through Germany and met practically all the men of letters
of his time. Married in 18 18. Professor at the gymnasium of
Stuttgart from 1820 to 1837. Became then a pastor at Goma-
ringen near Tubingen. Visited Switzerland and Scandinavia.
Received various titles, among others doctor of theology from
Tubingen. A disciple of Uhland and one of Uhland's greatest
admirers. An uncommonly active man : preacher, teacher, poet,
translator, investigator, critic, editor. A lyric writer of mediocre
ability; more rhetorical than fanciful. Helped other poets,
especially Wilhelm Miiller and Hauff. His best work was done
with Chamisso as editor of the Deutscher Musenalmanach
(1833-1838). His " Schillers Leben" (1840) has been super-
seded without being forgotten. His collection of "Deutsche
Lieder und Gedichte von A. v. Haller bis auf die neueste Zeit "
(1840) is still instructive. His anthology of " Deutsche Prosa
von Mosheim bis auf unsere Tage" (1843) ^s still a useful
manual. His " Deutsche Volksbiicher " (1847), i^ which he re-
tells the fifteen most important old German stories, ** Genoveva,"
" Heymons Kinder," etc., is still readable. Died at Stuttgart,
November 4, 1850.
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BIBLIOGRAPHY
©uftat) ©d^toab. ©cin ^e5en unb SBirfen. By Karl KlUpfel, Leipzig,
1858. 399 pp. Contains a, complete list of Schwab's writings, literary .
and scientific, and an excellent index of names. Indispensable for a
study of Schwab.
3ur (Srinnerung an ©uftao ©d^toob. (1792-1892). Stuttgart, 1892.
72 (quarto) pp. Contains poems, addresses and so on.
READING LIST
1850. ©uftao ©d^roabS ©ebid^tc. Edited by Gotthold Klee, Giitersloh,
1882. 452 pp. Biographical introduction, pages i to 57. The
best place to read Schwab's poems. Some of his best known
poems are 2)cr fftextev unb bcr Sobcnfcc; Sicb cincS abatc^cn*
ben S3urfd^en; 3ln ber DueUe.
ALBERT (Adalbert) STIFTER
Bom October 23, 1805, at Oberplan in the Bohemian Forest.
Father, a weaver, fond of reading, died in 181 7. Entered the
gymnasium of Kremsmiinster in 18 18, the University of Wien
in 1826. Studied law, art, philosophy and natural sciences and
supported himself by giving private lessons. Passed in 1830 the
written examination for teaching but was too timid to attempt
the oral test. Married (1837) Amalie Mohaupt. Famous from
1 840 on as a narrator. Moved to Linz in 1 848, became inspector
of schools in 1849. Received the medal for art and science in
1850 and was made a member of the Franz Joseph Order in
1854. Became a sort of recluse in his later years. His marriage
was childless but happy. The war of 1866 disturbed him greatly.
Related to Romanticism by his detailed description of nature
and his Catholicism. The poet par excellence of the Bohemian
Forest. Learned from Jean Paul and E. T. A. Hoffmann, and was
admired and studied by Storm, Raabe, Saar, Ebner-Eschenbach
and Nietzsche. Died at Linz, January 28, 1868.
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THE SIDE LIGHTS
BIBLIOGRAPHY
SlbaI5ctt ©tifter; cin SBilb bc8 2)icl^tcr3. By Immanuel Weitbrecht,
Leipzig, 1887. 21 pp.
Stoci 2)i(i^ter fcftcrretdjS, %tani ©dttparacr, 2lbal5crt ©tifter. By
Emil Kuh, Pest, 1872. 516 pp.
©tubicn 8U Slbalbcrt ©tiftcrS Siloocacntcd^nif. By Ernst Bertram,
Dortmund, 1907. 160 pp. Contains bibliography of 21 titles.
3ur fprac^ltd^cn Xt^nxt \>iv ^oveUen Slbalbcrt ©tiftcrg. By Ernst
Bertram, Bonn, 1907. 66 pp.
(Sin Seitrag ju ^balbett ©tiftcrS ©til. By Franz Huller, 1909. In
Euphoriorty Volume 16, pages 136-147 and 460-471.
Slbalbctt ©tiftcrg augQCwa^ltc SBcrfc. Edited by Rudolf Furst, 6 vol-
umes in 2, Leipzig (Hesse), no year. Biographical introduction in Vol-
ume I, pages 1-lv. The best abridged edition; contains his main works,
except " Der Nachsommer " (1857).
©tubicn oon Slbalbett ©tifter. Edited by Stifter, numerous excellent
illustrations by Franz Hein und Fr. Kallmorgen, Leipzig, 1905 (3d ed.),
3 (large) volumes. Contains 13 of Stifter*s stories.
2lbalbert ©tifter. By Alois Raimund Hein, Leipzig (Reclam), no year
(1912). 119 pp. Volume 16 in the series of " Dichterbiographien."
Contains a picture of Stifter and a good index of names and themes.
READING LIST
1840. 2)aS §cibcborf, narrative, 53 pp.
1844. 2)cr SGBalbftcig, narrative, 58 pp.
1844. SluS betn altcn SBien. 2lu8 bcm Sa^rifdjen SBalbe, poetized remi-
niscences in prose, 175 pp.
1847. 3)et SBalbgfingcr, story in prose, 82 pp.
WILHELM FRIEDRICH WAIBLINGER
Bom November 21, 1804, at Heilbronn, son of a provincial
governor. Entered (18 19) the gymnasium oi Stuttgart, where
Schwab was his teacher; the University of Tubingen (182 1),
where he became acquainted with Holderlin. Morike could
not endure him because of his sophomoric tendencies. His jour-
neys to Italy did not bring him the desired betterment from the
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OUTLINE OF GERMAN ROMANTICISM
point of view of literary restraint. Personally acquainted with
Dannecker, Haug, the Boisser^es, Ludwig Bauer and Matthisson.
Influenced Morike, was influenced by Holderlin and imitated
Byron. Lived a wild sort of life, was very vain, is now possibly
less read than any other Romanticist. He died in Rome,
January 17, 1830.
BIBLIOGRAPHY
2Bi(§eIm 2Bai5Iingct8 gcfammclte SBcrlc. Edited by H. v. Canitz,
9 volumes in 3, Hamburg, 1 839-1840. Waiblinger's life is found in
Volume I, pages i to 171. Hebbel reviewed this edition. Morike
brought out a revised edition of his poems in 1844, Eduard Grisebach
has also published selections from his works, and " Die Briten in Rom "
can be had in a Reclam edition.
SBil^cltn 2Bai5(ingcr. ©ein 2c6cn unb fcinc 9Ber!c. By Karl Frey,
Aarau, 1904. 153 pp.
SBcitrftge jur Stttcroturgcfd^id^tc ©d^roabenS. By Hermann Fischer,
Tiibingen, 1891. Volume i, pages 148-179.
READING LIST
1826. 2)rci %aqt in bcr Untcrwclt, satire in prose on the Romanticists,
75 PP-
1829. Slnna SuUcn, ^dntgtn t)on ©nglanb, tragedy in 5 acts, 178 pp.
1830. ^^ebid^te, dating back, 298 pp. Volume 7 of his complete works.
Very few of his poems are now read. It is difficult to secure a
copy of his novel " Phaeton " (1823), which was strongly influ-
enced by Holderlin. He also wrote " Friedrich Holderlins
Leben, Dichtung und Wahnsinn," ** Wanderungen in Italien,"
" Das Marchen von der blauen Grotte."
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SECTION IX
THE WRITERS OF YOUNG GERMANY
From 1766 to 1866 intellectuality was on the crest of
the wave in Germany. During such an age it frequently
happens that men of thought and reason, men of imagi-
nation and fancy, become dissatisfied with the world as it
is because it does not correspond to the particular ideals
which they themselves have set up. And when this hap-
pens these same men, or their younger brothers, fre-
quently become, in course of time, dissatisfied with the
ideals that have been set up because there is no world for
their ideals to correspond to. It was partly the first situa-
tion that gave rise to German Romanticism ; it was largely
the second that gave rise to the movement known as
** Young Germany.'* By 1830 Romanticism as a move-
ment had about stagnated, while its immediate and* im-
patient and refractory heirs, the poets of Young Germany,
were just beginning their campaign.
The Romanticists had sought their ideals not in the
world about them, but in their own imagination. In a
number of instances the sun gave way to the moon, day to
night, seeing to hearing, reason to romance. Politics re-
tired before the fairy tale, history was supplanted by legend,
dreams and premonitions as well as the tricks and pranks
of sprites and fairies were memorialized. Chivalry, monas-
ticism and exaggeration characterized the age. A reaction
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OUTLINE OF GERMAN ROMANTICISM
was inevitable ; and it came with all its pent-up energy
about 1830 and lasted till about 1840 or 1848.
In broad outline, the following events ushered in the
new movement: the French revolution of July, 1830,
which removed the Bourbon house forever from France ;
the unsuccessful attempt on the part of the more important
German states to secure constitutions ; the successful
scheming on the part of Metternich to prevent them from
securing constitutions; the establishment (June 13, 181 5)
of the German SBurfdjenfc^aft with political aims and ideals
that were as vague as they were harmless, but which
seemed to the timid politicians of the time to be directed
against the government ; the Wartburg Celebration (Oct.
18, 18 1 7); the murde r of Ko tzebu^_(March 23, 18 19);
the Resolutions of Karlsbad (18 19); the Ultimata of
Wien (1820); Hegel's lectures at Berlin (1818-1831);
the teachings of D. F. Strauss, F. C. Baur, L. Feuerbach,
Bruno Bauer, Dahlmann, Ranke, Paul Pfizer; the death
of Goethe (March 22, 1832) ; the Celebration at Hambach
(May 27, 1832) ; the literature of Lord Byron ; the open-
ing of the first German railroad (Dec. 7, 1835). These
events and the far-reaching incidents connected with them
brought about the oppositional literature of Young Germany.
Though very German in name and purpose, the idea
was an imitation of Giovine Italia dinAJetme France, In
a letter to Cotta (1833), Gutzkow spoke of 2^ Jeune Alle-
magne, and in 1834 Ludolf Wienbarg dedicated his
" Asthetische Feldziige " expressly to 2)em jungen ©eutfc^-
lonb, unb nid^t bent atten. On December 10, 1835, the Aus-
trian ambassador. Count Miinch-Bellinghausen, ordered
the suppression of the literature of this abominable coterie.
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THE WRITERS OF YOUNG GERMANY
He picked out for cpecial condemnation Gutzkow^s " Wally"
and Wienbarg's " Feldziige." He included in the union
Heine, Gutzkow, Wienbarg, Mundt and Laube. These
men, however, never formed any sort of school ; they were
contemporaries ; they were thoroughly dissatisfied with the
existing order of things ; they saw that the ruled had more
brains than the rulers ; they used their pens in the service
of a righteous freedom that their swords had already won.
As to what Young Germany stood for and against,
Alfred Biese has the following highly apposite paragraph :
SlHen erfd^ien balder bie SSett ntcl^r ober njeniger mie ^am^
let: f(})al, flad) unb unerfprie^Iid^. S)ie tiefc lXn5ufrieben^cit
mit bem 93efte^enben in ©taat unb Sird^e, ba^ Siebftugetn mit
bet JRetJoIution unb bem Umfturj alter SSerl^ftttniffe, bet ^o§=
ntopotiti§mu§, btx in granfreidt), in bet jpotitif unb Sitcratur
biefe§ Sanbe§, ba^ ^itai ftel^t unb nebcn^er fiir Sorb St)ron
unb Sutoer f(})n)(irmt, enblidE) aud) ha^ ©tjangelium ber ©man=
jipation be§ Steifd^e^, ba^ \a fd^on 5U Seginn ber romantifd^cn
©podE)e aufgetaudE)t tt)ar, nun aber mit tjerftarfter Ginbringlid^:=
!eit njieber auftebte, — ba§ ift e§ ungefa^r, n)a§ ber Siteratur
be§ ,jungen Seutfd^Ianb^" ben ^xif)aii gibt. S)a§ gormibeal
ber neuen ©df)ule aber n^urbe ber tDi^ige unb itonifd^e Xon, mic
i^n ^einc mcifterl^aft l^anb^abte, eine ©eiftreidf)ig!eit, bie fid^
nur all5u^duftg auf Soften ber SSal^rl^eit breit madf)te. . . .
S^re eigenttid^e literarifd^e S23elt ift bie 5Preffe.
BIBLIOGRAPHY
2)aS iunge 2)eutf(i^lanb. By Johannes Proelss, Stuttgart, 1892. 804 pp.
Rich in content, but has no index.
Young Germany. By Georg Brandes, New York, 1905. 411 pp.
This is Volume 6 in Brandes's " Main Currents in Nineteenth Century
Literature." It is about the best volume in the series ; the author was
very much in sympathy with his subject. It is a brilliant book though
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OUTLINE OF GERMAN ROMANTICISM
not so sound as those by Proelss and Houben. It was translated by
Mary Morison. In addition to general topics, it treats Borne, Heine,
Goethe, Immermann, Hegel, Gutzkow, Laube, Mundt, Menzel, Rahel,
Bettina, Charlotte Stieglitz and Friedrich Wilhelm IV.
Sungbeutfcl^et ©tunn unb 2)rang. ®rle5nifle unb ©tubien. By H. H.
Houben, Leipzig, 191 1. 704 pp. This is a most scholarly book. In
addition to general topics, it treats Menzel, Borne, Heine, Wienbarg,
Laube, Mundt, Gutzkow, Vamhagen von Ense, Gustav Schlesier, Gustav
Kiihne and Alexander Jung. By the widest stretch of the imagination,
the last three cannot be considered of "literary" importance, and
Heine, who was in Paris during the entire time, has been placed in our
treatment among the regular Romanticists. Georg Buchner is added to
the list below for evident reasons. The student who reads these three
works will be sufficiently informed.
KARL AUGUST VARNHAGEN VON ENSE
Bom February 21, 1785, at Diisseldorf ; died October 10,
1858, at Berlin. Studied medicine, philosophy and history at
Berlin, Halle and Tubingen. A soldier and politician. Had
trouble with the government. Married Rahel Levin. Coeditor
with Chamisso of Der griine Almanack, Wrote some poems,
but was primarily a writer in prose. Was one of the first critics
to emphasize the importance of Goethe. A querulous and loqua-
cious but not untalented person.
1843. 2)enfn)iirbigfeiten bcS etQcncn Sc5cn8 (2d ed.)> 1012 pp.
LOEW BARUCH (Ludwig Borne)
Bom May 6, 1786, at Frankfurt am Main; died Feb-
ruary 13, 1837, at Paris. Studied at Berlin, Halle, Heidel-
berg and Giessen. Became a Christian and changed his name
in 18 1 7. Had trouble with the government. Lived from
1830 on in Paris. Edited Die Zeitschwingen^ Die Waage and
La Balance,
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THE WRITERS OF YOUNG GERMANY
liber Sub wig S35rne. By Heinrich Heine, Hamburg, 1840. 132 pp.
SubtPtg 836rne: ©ein iJeben unb fein SBirlcn nad^ ben Duetten bar^
geftellt. By Michael Holzmann, Berlin, 1888. 402 pp.
1825. 2)ett!rebc auf Scan ^aul, 15 pp.
1830-1833. SBriefe an^ $aris, 717 pp.
WOLFGANG MENZEL
Bom June 21, 1798, at Waldenburg in Silesia; died at Stutt-
gart, April 23, 1873. Associated with Otto Ludwig Jahn,
studied philosophy and history at Jena and Bonn. Connected
with the Europdische Blatter^ Cotta's Literaturblatt and Deut-
sche Vierteljahrsschrift Notorious because of his attacks on
Goethe. He was not a consistent member of Young Germany.
1836. 2)cutf(i^e Siteratur, 597 pp.
LUDOLF CHRISTIAN WIENBARG
Bom December 25, 1802, at Altona; died at the same place,
January 2, 1872. Studied theology, philosophy and philology
at Kiel, Bonn and Marburg. Became (1834) privatdozent in
aesthetics at Kiel, where he delivered the lectures afterwards
published under the general title " Asthetische Feldzuge."
This book was dedicated as follows : 3)ir, jungeS 3)eutfd^Ianb,
tt)lbme i(| bicfe SJcbcn, nid^t bcm alten. It was this dedication
that gave the movement its name. Coeditor with Gutzkow of
the Deutsche Revue,
Subolf SBienbarg aid jungbeutfd^er Speti!er unb ^unftfrttifetr. By
Victor Schweizer, Leipzig, 1896. 92 pp.
HEINRICH LAUBE
Bom September 18, 1806, at Sprottau in Silesia; died at
Wien, August i, 1884. Studied theology and philosophy at
Halle and Breslau. Made a member of the National Parliament
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OUTLINE OF GERMAN ROMANTICISM
in 1848, retired in 1849. Had trouble with the government.
Edited the Zeitung fiir die elegante Welt, Director of the
^ofburgt^eater in Wien (1849-67). Connected with other
theatres in Wien and Leipzig. Important as a creative writer.
1837. 2)aS iungc ®uropa: 2)ie ^oetcn (1833), 2)ic ^Iricger (1837), 2)ie
©iirger (1837), 605 pp.
1844. ©trucnfee, tragedy, 229 pp.
1846. ©ottfd^eb unb ©ellcrt, comedy, 223 pp.
1846. 2)ie J^QtlSfd^ulcr, drama, 206 pp. (Schiller is the hero.)
1856. ®raf ®ffej, tragedy, 186 pp.
THEODOR MUNDT
Bom September 19, 1808, at Potsdam ; died at Berlin, No-
vember 30, 186 1. Connected with Blatter fiir literarische
Unterhaltung^ Uterarischer Zodiakus^ Dioskuren fiir Kunst
und Wissenschaft, Der Freihafen and Der Pilot, Professor of
general literature and history at Breslau and then at Berlin.
Had trouble with the government.
3:^cobor 3D'lunbt unb feinc Scatc^ungcn jum Sungen 2)eutfci^lanb. By
Otto Draeger, Marburg, 1908. 58 pp.
2:§eobor 2Wunbt alS Siterar^iftorilcr. By W. Prinz, 191 2. 78 pp.
1832. HJlabelon, ober bic S'lotnantifct in ^ariS, novelette, 246 pp.
1844. ^ie ©efd^id^te ber ©efeQfd^aft in i^ren neueren ©ntwidelungen unb
^ro5(emcn, 435 pp.
1845. 2)ic 3bee ber ©d^dn^cit unb beS ^nfhoctlS tm Sid^tc unfctcr 3«t.
390 pp.
KARL FERDINAND GUTZKOW
Bom March 17, 181 1, in Berlin; died December 16, 1878,
at Sachsenhausen. Studied medicine, philosophy and economics
at Berlin, Heidelberg and Munich. Had trouble with the
government. Wrote for MenzeFs Literaturblatt and Cotta's
Morgenblatt, Edited the literary supplement of Duller's Phonix,
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Edited his own Telegraph fur Deutschland and Unterhaltungen
am hduslichen Herd, An impetuous and flamboyant person.
Important as a creative writer.
Gutzkow et la jeune AUemagne. By J. Dresch, Paris, 1904. 483 pp.
5larl ©U^foroS ©tellung jur 3iomantif. By Bemhard Rieffert, Leip-
zig, 1908. 54 pp.
©u^IoroS unb 2au5eS Siteraturbramcn. By Paul Weiglin, Berlin,
1910. 173 ff.
1835. SBaHp bic 3rociflcnn, novel, 327 pp.
1844. 3^Pf wnb ©d^roert, comedy in 5 acts, 70 pp.
1844. 2)aS UrSilb bcS ^artilffc, comedy in 5 acts, 76 pp.
1846. Uriel 5lcofta, tragedy in 5 acts, 62 pp.
1849. 2)er ^onigSleutnant, comedy in 4 acts, 85 pp. (Goethe is the
hero.)
GEORG BUCHNER
Bom October 17, 18 13, at Goddelau near Darmstadt; died
at Zurich, February 19, 1837. Studied science at Strassburg.
Had trouble with the government. Edited the Hessische Land-
boten. BecamQ privafdozen^ in literature at Ziirich.
®corg SSud^ncrS 2)rama ;,2)antonS ^ob". By Hans Landsberg, Ber-
lin, 1900. 38 pp.
®COrg SSiid^ncrS fdmmtUd^C SBetfc. Edited by Karl Emil Franzos,
Frankfurt am Main, 1879. 472 pp. Introduction of 180 pp.
1835. 2)antonS Xob, drama, 3 acts in prose, 97 pp.
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PART TWO
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SECTION I
THE BACKGROUND
Poets, like plants, have been divided into many classes.
From one point of view, however, there are only two kinds
of writers : those who write for all time, and those who
write for their own time. The former are by far the greater,
though it may take them longer to secure recognition ; it
may take them longer to realize on their assets. To under-
stand the poetry of those who write for all time, it is neces-
sary to know something about the intellectual, the spiritual,
undercurrent of their day. It is customary, for example, to
divide Philosophy into three periods: Ancient (625 b.c-
476 A.D.), Mediaeval (476-1453), Modem (from 1453 on).
The first period was objective, the second traditional, the
third subjective. A representative poet of the first period
was Sophocles, of the second Dante, of the third Goethe.
To appreciate the poetry of any one of these, acquaintance
with the intellectual trend of the age is helpful if not indis-
pensable. To understand, for example, Dante's " Divina
Commedia ** one must know something about the Ptolemaic
conception of the universe of Dante's day, whereas it is
questionable whether familiarity with the way in which
people lived in Italy during the first eighteen years of the
fourteenth century would essentially aid in an appreciation
of that divine work by the "first man in Italy." But to
vmderstand the poetry of those who write for their own
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time, the poetry of the lesser poets, familiarity with the
more profound thought of the age, while it will help, is not
so essential as an understanding of the way in which men
then lived, as an insight into the condition of their Church
and School and State and Home. The Romanticists, with
some delightful exceptions, were minor poets. They were
inspired, or rather moved, by their time and wrote, in a
sense, for their time. That is to say, not possessing Dantean
genius, they were unable to rise above their time and wrote,
therefore, for their time. They did this, however, in various
ways. They considered the happenings of their day beneath
their poetic dignity and left them out of consideration.
Holderlin had little respect for a German theme. Or they
memorialized their deedless epoch in unmerciful satire, the
shortest-lived of all kinds of literature. Heine became a
poet without a statue because of the lampoonings he gave
the country that produced him. Or they humiliated their
age by comparing it with other lands that knew glory and
with other times that abounded in fame. The German
Romanticists, at least according to Heine and many other
unoriginal souls who have followed his lead, set out to
revive Hohenstaufen Germany.
Seventy-five years of civic background, from the death of
Frederick the Great to the death of Frederick William IV,
are therefore important in the study of German Roman-
ticism. That the situation as here portrayed concerns
primarily Prussia will surprise no one acquainted with
German history. Many of the Romanticists were, to be
sure, bom out of Prussia, and but little of their literature,
aside from that of Kleist, had to do with what might be
called Prussian themes. But from the national and civic
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THE BACKGROUND
standpoint Prussia was the centre of things then as it is
now. As early as 1756 Frederick the Great said : " If the
independence of Germany is to perish, Prussia shall perish
with it. I shall protect the German princes even against
their own wish, and so long as there is a Prussian alive, no
one shall say that Germnay has no one to defend her."
And as late as 1 899 an eminent authority, Theobald Ziegler,
said in connection with Frederick William IV and the
hereditary imperial crown : '' Back of it arose that perplex-
ing question that has never been answered, that problem
that has never been solved : Shall Prussia be absorbed by
Germany or Germany by Prussia ? ' ' Prussia is HohenzoUem
Germany, and German Romanticism closed with the year
1866, the year in which the Hapsburgs relinquished all
claims to leadership in HohenzoUern territory and five years
before the establishment of the present German Empire.
Frederick the Great became king of Prussia on May 31,
1740, and died at Sans Souci August 17, 1786, having
reigned forty-six years. The Seven Years' War closed in
1763, so that the first twenty-three years of his reign were
largely taken up with wars of acquisition, while the last
twenty-three were largely concerned with constructive poli-
cies during an era of peace. By his conquests in Silesia
and Austria, he vastly increased the area and population
of Prussia, which, at the beginning of his reign, had a
population of about two and a half million inhabitants, a
yearly income of about five and a half million dollars, and
an army of eighty-three thousand men.
Frederick the Great was the absolute monarch of En-
lightenment, that movement begun in 1740 and made
possible by the political growth of Prussia, by Lessing, by
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the rise of Pietism, by Wolff's interpretation of Leibnitz
and by the arrival (1750) of Voltaire in Berlin. By de-
stroying the absolutism connected with the name of the
Holy Roman Empire and the House of Hapsburg, '' Old
Fritz " did for political Europe what Voltaire did for ec-
clesiastical Europe. He inspired patriotism and self-respect
not only in Prussia but also in Bavaria, Swabia, Saxony
and Brunswick. He was enlightened and undertook to
enlighten his subjects, who, though poor, were made equal
before the law. Indeed every man tried to enlighten his
inferior. Secret societies, such as the lUuminati (1776-
1786), were established for this purpose. So far-reaching
were the reforms of Frederick the Great that Kant referred
to the eighteenth century as the century of Frederick the
Great, not of Rationalism.
Germany has produced five superlatively great men :
Luther, Frederick the Great, Kant, Goethe, Bismarck. To
attempt to decide which of these was the greatest would
be folly. Suffice it to say that had Frederick the Great
succeeded himself as king of Prussia, the map of Europe
would not have suffered such fatal wrenchings, and sys-
tematic German Romanticism might never have been.
But he was succeeded by Frederick William II, his
exact opposite. Handsome, of more than common men-
tality, devoted to the arts, a patron of Mozart and Beetho-
ven, a confessed polygamist, lacking military tastes, he
possessed a temperament ill-fitted to carry out the policies
of his illustrious predecessor or to recall the days of Charle-
magne and Barbarossa. Moreover, he fell, early in life,
under the sentimental, mystic influence of Johann Christoph
Wollner, whom Frederick the Great had described as a
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THE BACKGROUND
" treacherous and intriguing priest,'* and became a Rosi-
crucian. He passed religious edicts compelling Evangelical
ministers to teach only what was included in the official book
of the Order, commanding them to protect the Christian
religion against the doctrines of Enlightenment, and plac-
ing education under the supervision of the orthodox clergy.
Obscurantism rendered invalid his economic reforms, the
army degenerated, the monarchy declined.
Is it any wonder, then, that Goethe, and indeed even*
Schiller, like Lessing before them, became so indifferent
to patriotism, and that the Romanticists went to other
times and other lands for subjects worthy of poetic treat-
ment ? There were then in Germany about three hundred
independent sovereignties and about fifteen hundred im-
perial knights with too much power. The bishops spent
their time and money in drinking, the lords were poor, the
condition of the subjects indescribable. The only institu-
tions that aimed at unity were the 9?eid^$tog at Regensburg,
the Sommcrflcrid^t at Speyer and elsewhere, and the JRcid^^-
^ofrat at Wien. Universal schism, worship of etiquette and
lack of patriotism rendered even these practically worthless.
The following are the most important events that took
place shortly before and during the reign of this king who
drank liquid gold to cure himself of his ills and entrusted
his affairs of state to a religious quack: the birth of
Napoleon on August 15, 1769, at Ajaccio on the island
of Corsica; the French Revolution (i 789-1 792, or 1795,
or 1799, or 1804), which gave the Germans exotic hope
that feudalism might come to an end at home ; the Dutch
campaign of 1787, which was successful as an issue without
being profitable as a policy ; the treaty of Reichenbach
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(July 27, 1790), by which Frederick William II and Leo-
pold II of Austria agreed to discontinue campaigns con-
ducted solely for the purpose of conquest ; the dismissal
of Hertzenberg, marking the close, on the part of Prussia,
of the anti- Austrian tradition of Frederick the Great ; the
acquisition of territory by Prussia through the second and
third partitions of Poland ; the treaty of Basel (April 5,
1795), according to which Prussia ceded to France her
possessions on the left bank of the Rhine, an act which,
at that time, when patriotism was at its ebb, stirred the
cockles of nobody's national heart, Hardenberg even
approving of it, and Kant being moved by it to write his
treatise on perpetual peace. In short, at the end of the
reign of Frederick the Great's successor, Prussia was hu-
miliated and isolated and decimated, and Austria was alone
and unsuccessfully continuing the struggle against France,
until finally obliged to sign the treaty of Campo Formio
(October 1 7, 1 797), by which France secured still larger pos-
sessions in German-speaking Europe. Frederick William II
died November 16, 1 797. During the period (i 786-1 797),
Goethe was writing some of his best works, Matthisson's
poems were widely read, Schiller was in his second, his
aesthetic, stage, Jean Paul was turning out work after work,
Tieck was still a Rationalist and **Wilhelm Meister"
(1796), the magna charta of Romanticism, was published.
Neither from the social nor from the civic standpoint was
there much in Germany to be proud of, while literature
ywas abundant but chaotic.
The reign (i 797-1 840) of Frederick William III was
nearly coeval with Romanticism as a movement. The year
he succeeded to the throne Holderlin began his ** Hyperion "
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THE BACKGROUND
with its fearfully depreciative remarks about the Germans,
A. W. Schlegel began his translation of Shakespeare,
Friedrich Schlegel was writing on the Greeks and Romans
and Lessing, Tieck finished his '*Volksmarchen ** and
**Der gestiefelte Kater" with its onslaught against the
realism and naturalism of the Berlin, the German, stage,
Wackenroder was throwing off his " Herzensergiessungen,"
Schelling was philosophizing on nature, and the need of
an official organ of Romanticism was becoming daily more
imperative. The king's good Queen Louisa died (July 19,
1 8 10) heart-broken from national grief in the same year
that Romanticism reaped but a blighted harvest, Kleist's
" Kathchen von Heilbronn *' and Amim*s '' Dolores/'
The king himself died (1840) in the year that Tieck, now
a Realist, finished his ** Accorombona," Heine his diatribe
against Borne, Hoffmann von Fallersleben his ** unpolitical
songs " and Geibel his gentle poems.
Frederick William HI, pious, honest, well-meaning,
was nevertheless distrustful of others and personally ineffi-
cient. About a score of events loom large in his reign
and fewer than five of them added glory to his realm.
After the peace of Campo Formio, Austria formed an
alliance with England and Russia against France. The
allies were successful until Napoleon returned from Egypt
and took command. Then disaster after disaster followed,
until they were obliged to sign the treaty of Lun6ville
(Feb. 9, 1 801), by which Austria made large concessions
to France, including the German lands on the left bank
of the Rhine. Then came the indemnity congress at
Ratisbon (1802- 1803), by which France gained the Rhine
boundary, and of fifty-two imperial cities forty-six lost their
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independence, Liibeck, Hamburg, Bremen, Frankfurt, Niim-
berg and Augsburg alone remaining free. At the battle of
Jena (Oct. 14, 1 806) the Germans Were completely defeated ;
the 9?^einbunb had been established (July 12, 1806) with
Napoleon as its protector, the Holy Roman Empire of the
German Nation had been dissolved (Aug. 6, 1806) and the
treaty of Tilsit was concluded (July 7-9, 1807), by which
Prussia lost all of her territory west of the Elbe, a large
part of what had been acquired by the second and third par-
titions of Poland as well as Bayreuth and East Friesland.
Frederick William III lost in all over one half of his
possessions. These lost lands were formed into the King-
dom of Westphalia for Jerome Bonaparte and the Duchy
of Warsaw for the king of Saxony. A more complete
national humiliation is well-nigh unthinkable.
Humiliation is, however, frequently good for the soul.
Just as Holderlin and Jean Paul, in literature, bridged over
the otherwise existing gap between the humanistic, objective,
collective, analytic and cosmopolitan eighteenth century on
the one hand, and the romantic, subjective, individualistic,
synthetic and national nineteenth century on the other, so
did Johann Gottlieb Fichte, in philosophy, draw the line
and build the bridge between Kant's eighteenth-century
** thing-in-itself '* and the Romanticists' nineteenth-century
eg-o. And in 1808 Fichte delivered those powerful 9?ebcn
on bte bcutfd^e 9?otion, assuring the German people, as
individuals, that their condition was not static, that it was
not beyond their control, but that they could rethink it,
make it all over, make it d5mamic, make it whatever they
wished to make it. And to judge from the outcome of 1 8 1 3
and 181 5, the German people must have taken courage.
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But what of the poets ? It is difficult to explain them
from their time. In the same year that Fichte delivered
his 9?eben, Goethe published the first part of '' Faust,"
Germany's greatest dramatic poem, a work, by way of
digression, which, barring a few mortal leaps into the abyss
of philosophic verbiage, is one of the most realistic works
ever written in the German language. But the Romanti-
cists, the minor poets, were, with the exception of Kleist,
then writing and collecting folk songs and fairy tales,
studying and translating foreign languages and doing a
number of other things poles removed from the events
of the day. If there be any connection between national
and literary prosperity, it is difficult to explain any Ger-
man poet of 1808 from the background, be he Classicist
or Romanticist or Philistine.
But when a country sinks so low that its enemy can shoot
a bookseller — as Napoleon did Palm (Aug. 26, 1806) —
for selling a book entitled ** Germany in the Depths of
her Humiliation,'* a reaction is sure to follow. Prussia at
once began to revive. Stein, who had been ungraciously
dismissed (Jan. 4, 1807) from the ministry, followed the
call of his king and resumed the leadership in the work
of reform (September, 1807). Frederick William III
returned (Dec. 23, 1809) from his hiding in Konigsberg
to Berlin. The University of Berlin, one of the great mon-
uments of Romanticism, was established in 18 10. And
then came a turn in the affairs of Napoleon. When his
son by a second marriage was bom (March 20, 181 1) he
stood at the height of his power. He commanded from
the Pyrenees to the Elbe and the Baltic, and as far east as
Warsaw. But he wanted no limitations at all ; he undertook
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the Russian campaign that broke his power forever. All
sorts of complications now began to arise. And then came
the battle of Leipzig (Oct. 16-19, 1 8 1 3), Napoleon suffered
a terrible defeat, the 9?^einbunb was dissolved, Germany
was free as far as the Rhine.
But complete reform was to be the work of decades,
not of days. A nation can be built up only with free
citizens, and previous to November 11, 18 10, two thirds
of the population of Prussia had consisted of unfree sub-
jects. And this was only one of the many things that
prevented the victory at Leipzig from immediately regener-
ating Germany. Napoleon had been defeated once, but not
completely overthrown. Far from it. Wonderful to relate,
the first peace of Paris gave France all of Alsace, and a
million more inhabitants than she had had in 1789.
Prussia could not even obtain payment for the contribu-
tions that had been wrung from her during the campaigns,
of 1808 on. And it was only with extreme difficulty that
she had been able to get back such works of art as the
Brandenburg gate. And, worst of all. Napoleon was made
sovereign prince of the island of Elba, allowed to retain
his title of emperor and to surround himself with a retinue
of officers and a standing army.
Then came the Congress of Wien, which met to redraft
the map of Europe. Every European potentate, except the
Sultan of Turkey, was represented. It was a long, bril-
liantly entertained, wine-drinking, resultless affair. Some
things were, however, started. Russia was to get the
Polish provinces, which had always been a burden to
Prussia; Prussia was to get Protestant Saxony, whose
king had been consistently loyal to Napoleon, as well as
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Danzig, Thorn, Aachen, Koln, Coblenz and other territory
on the left bank of the Rhine, thus bringing her boundaries
up to almost what they had been in 1 806. But the congress
was brought to an abrupt close : Napoleon landed (March i,
181 5) at Cannes. The French flocked to his flag only to
be mowed down at Waterloo (June 18, 1815). Napoleon
was then banished to the island of St. Helena, where he
died March 5, 1821.
After Napoleon's banishment the Congress of Wien
resumed its deliberations. The reconstruction of Germany
was solved in a very unsatisfactory fashion. The mutual
relation of Austria and Prussia remained a vexed question,
one that was not to be solved until 1866. Mettemich in
Austria and Wilhelm von Humboldt in Prussia advanced
opposing plans. Finally the S)eutfd^er Suitb was formed.
Thirty-eight states joined it (June 8,1815), Hesse-Homburg
came in in 18 17. On September 26, 1815, the Holy Al-
liance was agreed upon at Paris. All European states, except
England and Turkey, joined the Alliance. The Christian
religion was to weld all Europe into one great Christian
nation. And on November 20, 181 5, Austria, Prussia,
Russia and England entered into an agreement according
to which they were to preserve peace throughout Europe
and hold regular conferences to discuss and further the
general welfare. The plan sounded well ; in actuality it was
simply a confirmation of Mettemich's conservative policy
and was destined to check the political development of
Germany for half a century. The SBunbe^tog was to have
its seat at Frankfurt. The first meeting was held on
November 5, 18 16. But the Frankfurt Diet was peculiarly
arranged. For example, a combination of the small states,
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representing about one sixth of the population, could out-
vote the larger ones, representing the remaining five sixths
of the population. Moreover, the Diet had no army and
no funds. Nobody was satisfied. The internal affairs of
Germany were worse than before. But the very weakness
of the Confederation conduced to the glory of Prussia and
brought about her future supremacy.
With one exception the remaining events of the reign
of Frederick William III were of minor importance. The
SBartburgfeft (Oct. i8, 1817) was in many respects a very
sensible celebration. A few side acts of exuberancy, how-
ever, served to strengthen the policy of oppressive con-
servatism. The assassination of Kotzebue (March 23,1819)
strengthened it still more. At a ministerial conference at
Karlsbad (August, 1 8 19) under Metternich's leadership, and
with the participation of Prussia, the freedom of the press
was attacked and the universities were put under gov-
ernmental surveillance. At various conferences held in
Wien (18 19-1820) the granting of state constitutions was
opposed, but representative government was being every-
where discussed. The most important event was the estab-
lishment (Jan. 1, 1834) of the Prussian-German 3oKt)erein,
which embraced 18 states with 23,000,000 inhabitants.
Homburg, Baden, Nassau joined in 1835, Frankfurt in
1836, Waldeck in 1838. It was Germany's first lesson in
the virtue of cooperation. The French revolution of July,
1830, again brought the granting of constitutions to the
fore. All told, the battles of Leipzig and Waterloo and the
establishment of the Customs Union were the three most
important events in the reign of Frederick William III.
He died June 7, 1840.
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And how did the Germans live during the forty-three
years of his reign ? Nationally, the first half of it was spent
fighting Napoleon, the second in dillydallying over reforms
the enactment of which should have been easy and rapid
after Napoleon's downfall. To see how the Germans hated
Napoleon, one should read Kleist ; to see how they stood
in awe of him, one should, strange to relate, read Goethe.
In 1800 Germany was poor, desperately so. There were
about 25,000,000 inhabitants, one third of whom lived in
the cities and towns, two thirds in the country. There were
no large cities, and the small ones were angular, irregular,
dirty and poorly lighted. The farmers were obliged to live
with patriarchal frugality, the other subjects — mechanics,
tradesmen and officials — had to be extremely economical.
There was no such thing as the division of labor, and the
system of guilds and tithes and taxes was so arranged that
social and industrial progress was impossible. There was
no coal heat, no steam power. Travel was difficult. In
going from Berlin to the Harz Mountains, one's baggage
had to be examined fourteen times. To receive the mail
was an event. And in 1806 things became infinitely worse.
The best blood of the country had been shed on the field
of battle. In 181 5, when France began to pay indemnity,
there was a slight relief. The State began to build high-
ways and the mail was to be measurably improved ; it was
to take only three days and three nights to get a letter be-
tween Hamburg and Frankfurt. But the currency system
was in bad condition, and the system of tolls and taxes
with other countries, England for example, stood in need
of immediate revision if there was to be any such thing
as state and interstate commerce. Is it any wonder that
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the poets turned to their own egos for themes ? Is it any
wonder that we have so Uttle action in the early epics of
Tieck and Novalis and Holderlin and Richter ?
But since the beginning of the eighteenth century, no
civilized country has stood still for a quarter of a century,
and between 1815 and 1840 some things of moment
happened in Germany. The ^ambad^er ^ft of 1832 and
the granffurter ^JJutfd^ of 1833 were both reasonable at-
tempts to secure a constitution; both failed and both
aggravated an already grievous situation. The press was
watched more carefully than ever, the censorship of books
passed beyond the line of all reason. About 1800 politi-
cally suspicious persons were taken to task and some were
imprisoned. Some got off rather easily, Heinrich Laube
for example ; others fared much worse, Fritz Renter for
example. In 1837 the seven famous professors of Got-
tingen resigned, preferring to give up their post of duty,
their life-work, rather than go contrary to their conception
of civic justice. It was a time of domestic politics, and
the literature reflected and visualized it. It is well known
that Schiller and Goethe banished political and religious
discussions from the Horen. It is also well known that
between 1806 and 1826 the poets forsook the world.
But from 1830 on they tried to bring politics and religion
into literature.
The two social events, however, of greatest importance
in the reign of Frederick William III were the building
of railroads and the emancipation of the Jews. In 1833
Friedrich List (he took his own life, Nov. 30, 1846, out of
economic despair) planned a system of railroads for Ger-
many. The first line was built in 1835 between Numberg
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and Fiirth, the second in 1837 between Dresden and
Leipzig. The influence can scarcely be imagined. The
German nation, if it. is possible to speak of a nation in
this connection, took on a new lease of life. People were
inspired by rapid transit. Poets — Chamisso, Prince Piick-
ler, Countess Hahn-Hahn, Gutzkow, Lenau, Laube, Heine
— began to travel and to write pictures of travel. And
from the standpoint of literature, the shawm retired be-
fore, because drowned out by, the toot of the whistle, the
knight gave way to the engineer, the minstrel to the
trainman and people began to live in a new era.
The emancipation of the Jews was also of incalculable
significance. This is not the place to recount the outrages
that the European Jews had suffered from the edict of
Kaiser Matthias of 16 17 on. The interested student can
read Gratz's ** Geschichte des Judentums " and become
acquainted with all the details of these atrociously inhuman
practices. Suffice it to say that the Jews had been so com-
pletely segregated from other human beings that men like
Borne and Heine had to learn to write and speak the Ger-
man language. And now that they were emancipated, they
came to the front, not so much by reason of their creative
as because of their imitative ability, in great numbers and
with great rapidity. The generation between 1820 and
1840 saw the ascendency of Heine, Borne, Rahel, Fanny
Lewald, Beck, Hartmann, Auerbach, Kompert, Meyerbeer,
Mendelssohn, Bendemann, Neander and others. They
lived by preference in the large cities and fought, naturally,
against those institutions that had oppressed them — the
Church and. the Nobility. They did much to change social
conditions during the reign of Frederick William HI.
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Forty-three years is a long time for one man to reign,
even if he be uncommonly efficient, and Frederick
William III was not. It is for this reason that Frederick
William IV, the ** Romanticist on the throne of the
Caesars," was hailed as the savior of his country. It is
entirely possible that no European monarch ever ascended
the throne under more auspicious circumstances, or left it
with greater disappointment on the part of his subjects.
Delbriick had inspired him with a love of art, Ancillon
had given him a liking for the picturesque, Rauch had
grounded him in the principles of sculpture, Schinkel had
told him about architecture, Savigny had taught him the
theories of law, Bunsen had acquainted him with the an-
tique, and various other distinguished masters had helped
to make him the gifted prince that he was. He was an
idealist in an age of imminent realism. He abhorred the
sovereignty of the people, he believed in a patriarchal
monarchy, he felt that though advice was to be given by the
traditional estates, and that though religion was to cement
his provinces together, authority was to be vested solely in
himself. He lived in a dreamland of his own making, out
of touch with reality. His mind, always somewhat aberrant,
gave way completely in 1 8 5 7, and on October 7,1858, Prince
William, afterwards Emperor William I, was formally de-
clared regent. Such was the ruler of Prussia when the
all-absorbing question was the drafting of a constitution
and the enactment of the same.
It is not without significance that Frederick William IV
ascended the throne the same year that Becker wrote "Der
deutsche Rhein '' and Schneckenburger " Die Wacht am
Rhein '* and one year before Fallersleben*s ** Deutschland,
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Deutschland iiber alles." He held conferences (1840,
1845) with Austria for the reform of the Confederation,
but met with no success. He declared (April 11, 1847)
unequivocally against granting a constitution. The an-
nouncement of the establishment of the French Republic
(February 24, 1848), however, made the desire on the
part of the German states for constitutions irresistible.
Frederick William IV finally issued (March 18, 1848)
two patents, calling together the united Diet, promising
a written constitution and making other concessions.
The Berlin revolution (March 18, 1848) followed. The
Frankfurt Parliament, convened for the drawing up of a
constitution for all Germany, sat for thirteen months, be-
came intermittently riotous, and finally adjourned having
accomplished nothing. But the king showed himself to be
a man of his word. He gave (January 31, 1850) a consti-
tution of his own making, and a very good one. But this
did not settle the matter. No decision could be reached as
to the position of Austria. Frederick William IV would
not accept a crown from the Frankfurt Parliament; he
would have only the one that he felt could be legitimately
bestowed by the ancient and honorable House of Haps-
burg. But he could as little secure this one as he would
have been able to live and rule efficiently under an im-
perial constitution. On the contrary, by the Convention of
Olmiitz (Nov. 29, 1850) Prussia was prostrated at the feet
of Austria. German unity, indeed German greatness, was
nowhere in sight. Frederick William IV died January 2,
1 86 1, five years before Prussian-German supremacy was
established by the war with Austria, and ten years before
the establishment of the German Empire.
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The political conditions under Frederick William IV
were, then, highly unsatisfactory; the decade from 1850
to i860 was dark beyond expression. In 1852 Hannibal
Fischer sold the German navy at auction, while German
merchants abroad had to appeal to foreign consuls ; there
were no German consuls. And, to cap the climax, it looked
in 1852 as though the tried and tested Customs Union
would be dissolved. But it only seemed so ; it was the
political darkness before the break of a new day.
The social conditions were much brighter. The rail-
road, telegraph and mail systems had been vastly improved
and expanded, and, coincident with the exploitation of new
mines of valuable ores, capitalists began to develop and
invest German capital. Capitalism is the saving word of
this era. Karl Marx's ** Das Kapital '' appeared in 1867.
Industries flourished, there began to be a rich and a poor
class, and the people took courage. Those who were poor
wanted to become rich, they no longer looked upon pov-
erty as a natural concomitant of life ; those who were rich
wanted to become richer, they no longer looked upon com-
parative wealth as the highest good of human existence.
And back of it all, back of that which is political and that
which is social, came Bismarck and Emperor William I,
with whose appearance Romanticism became history and
before whose appearance one can find only a depressingly
small number of events of which poets could be proud and
by which they could be inspired. One searches almost in
vain foi such happenings as made glorious Periclean or
Augustan or Hohenstaufen or Elizabethan days.
And yet a survey of this period brings up a question
which, in view of the fact that literature is an artistic
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visualization and faithful reflection of life, is of basic im-
portance but impossible of a definitive answer : Is there
any immediate connection between national, civic and social
prosperity on the one hand and literary prosperity on the
other ? One can find positive and negative arguments that
are equally strong. In 1588, for example, the Spanish
Armada went down in the Strait of Dover before Lord
Howard's English fleet, and literature went up all over
England. But it went up all over Spain too, for were
not those the illustrious days of Lope de Vega, Calderon
and Cervantes ? A great national event, be it fortunate or
disastrous, seems to give a great poet something great to
talk over and write up ; but if he be only almost great, the
acquisition of a new planet will not enable him to live in
the starry realm of inspiration. Would our own Civil War
have influenced Edgar Allan Poe one way or the other ?
The Franco-Prussian War of 1870-71 neither depressed
poets in France nor inspired them in Germany. When
David Masson wrote his encyclopaedic life of John Milton
and connected his hero with all the events of his day, he
wrote a long life of a great poet, but whether the inclusion
of ail that extraneous material helps to a better apprecia-
tion of Milton's poetry is a question to be answered by
the select few who have read Masson. And if, during the
period of German Romanticism there had been only that
interminable list of Philistine writers, then it would be
easy to say that they had nothing to inspire them and their
works are therefore weak. But there were at the same
time the Classicists, who were great not only despite the
deedless age in which they lived but because of it to a cer-
tain extent. It was the very lack of idealism and freedom
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that kept these two motifs uppermost in Schiller s mind,
while it was his God-given genius that enabled him to
perpetuate them in Uterature.
And then there were the Romanticists, subjective, indi-
vidualistic, searching after a blue flower when ordinary
flowers were trampled down by Napoleon's soldiers and
human blood, shed on the field of battle, took the place of
water at their roots. What did they do ? Kleist, hardly a
Romanticist and almost a great genius, kept pounding
away, in verse and prose, at Napoleon. The background
of the time explains Kleist fairly well. But the others
disported themselves in an Orplid or a Vaduz or an
Arcadia or a Utopia of their own making, and when tired
of this they betook themselves to the real lands of long
ago and visualized the glories they could so abundantly
conjure up. The political and social events of Germany
from 1786 to 1861; explain some of the Romantic literature
written during these years. They do not, however, vindi-
cate all that they explain, for Goethe's criticism of Tieck's
" Stembald " fits the case in many instances. Of " Stem-
bald " Goethe said : 6^ ift ungtaubtid^ \m leer ba^ artige
®efa§ ift. And the pretty vessel was empty not because,
as has been said, the age was empty, but because those
particular cells in Tieck's brain, which in Goethe's brain
contained the germs of genius, were not full. To make,
then, an ultra-self-evident remark : Had the Romanticists
been different and greater, their works would have been
different and greater.
Let us take, by way of exemplification, two poems, each
written by a gifted poet. In 1831 Anastasius Griin, a poet
of considerable worth, wrote a poem entitled ** Salonszene."
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It is a graphic, if ironical, picture of Mettemich, that
Austrian reactionary who held Germany in leash from
1815 to 1848, that diplomatic politician who could see no
difference between an observation and an objection, the
man to whom comment was criticism and an idea the
embryo of anarchy. This poem grew out of the age en-
tirely. To appreciate it one must be familiar with Metter-
nich*s time. The poem was written for his time and was
a great poem, at first. It has now only historical signifi-
cance. On the other hand, Lenau, a poet of incalculable
ability, wrote in 1832 a short poem beginning **Weir auf
mir, du dunkles Auge." It has been set to music, accord-
ing to the most recent report, one hundred and sixteen
times. There is not a shimmer of connection between it
and the politics of 1832. It is a wonderful little lyric.
Such instances as these could be multiplied indefinitely.
When the backgrbund wholly explains a poem we may be
reasonably sure that it is of local application, of ephemeral
appeal and subordinate merit.
All told, the economic interpretation of Romantic litera-
ture is a rather hopeless, thankless task. Good poetry is a
matter of genius, not of talent. The latter can be acquired,
the former must be innate. It is therefore impossible to
explain poetry of the highest order by studying the back-
ground, for it is impossible to explain genius. The genius,
be he teacher or preacher or poet or what not, rises above
and complacently smiles at his surroundings. And the
Romanticists, though they were not consistently great, had,
each and all, sporadic moments of real inspiration during
which they produced works of unfading charm and un-
deniable power. But to appreciate these, a knowledge of
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OUTLINE OF GERMAN ROMANTICISM
either the social background or the philosophic undercur-
rent is not indispensable. To understand Eichendorfif's
lyrics, it is not necessary to read Schelling*s philoso-
phy of nature or Freytag's ** Bilder aus der deutschen
Vergangenheit " or Riehl's ** Kulturstudien aus drei Jahr-
hunderten." To appreciate Kleist's ** Kohlhaas," familiar-
ity with Saxony's cringing attitude toward Napoleon is
helpful. But " Kohlhaas " is not poetry of the highest
order. Eduard Morike, as a lyric writer, ranks close to
Goethe, and in *** Maler Nolten " he gave the world a
superb novel, and in ** Mozart auf der Reise nach Prag *'
a short story of consummate artistry and melodious charm.
But Morike*s works have nothing whatsoever to do with the
sociology of his age ; he had nothing to do with the world
about him. On this account, Karl Gutzkow, who wrote
nothing but ^^enbenjfdiriften, laughed heartily at Morike.
The background explains Gutzkow, whose works, aside
from *' Uriel Acosta," are now dead ; Morike*s are still
read. And so on ; the background explains sometimes,
sometimes it does not. Suffice it to say that the student
with an intelligent interest in the literature of the Roman-
tic period will do best to read the literature, and the lit-
erature on the literature, first. And then, if he has any
unmortgaged time, he can spend it with profit on the civic
and social conditions of Germany from 1766 to 1866 ; for
it is not only the study of literature that is worth while,
political economy is also a branch of human knowledge.
But let the serious student of German Romanticism ever
reflect on this question : How can the study of the social
and political background be of great benefit in this matter
when we are assured that the Romanticists fled, during the
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time covered by the first four acts of the drama, from
the realities about them ? Their lives explain, to be sure,
their works ; but the political background hardly explains
their lives.
BIBLIOGRAPHY
A History of Modern Europe {1792-1878). By C. A. Fyflfe, New
York, 1896. 1088 pp. This is a very detailed account of the subject.
The book is well outlined, and the student can easily select the chapters
of momentary or thematic interest Chapters viii, xiv, xv, xvii, xxi, xxii,
XXV, have the least bearing on the subject.
A Political History of Europe since 181 4. By Charles Seignobos,
translated by S. M. Macvane, New York, 1900. 881 pp. Chapters i,
xii, xiii, xiv, xv, xvi, xxv, are of most interest for the subject.
2)cutfc^e ©cjc^ic^te bis gum Sai^rc 1888. By Wilhelm MUller, Stutt-
gart, 1888. 383 pp. Pages 225 to 336 concern especially the age of
Romanticism.
2)eutfc^e ©efc^ic^te im tteuttje^ttten 3tt^t^unbctt. By Heinrich von
Treitschke, Leipzig, 1879-1882. Volume I, 790 pages ; Volume II, 638
pages. Though written with more or less bias, Treitschke's work is in-
valuable ; it contains a good deal of discussion of the literature of the
period and its economic worth.
Silber auS bcr bcutfc^en SSetgangen^eit. By Gustav Freytag, 1859-
1862. Read Volume 4, " Aus neuer Zeit." Contains an excellent account
of how the Germans then lived.
2)ic biitgcrlic^e ©efcttfc^aft. By W. H. Riehl, Stuttgart, 1856 (fourth
edition). 384 pp. Throws light on the social situation.
©ulturgefc^i^tUc^e ^oveUen. By W. H. Riehl, 1856 on. All of Riehl's
'* Culturgeschichtliche " works are valuable in the study of the back-
ground of German literature during the periods in question. His " Kul-
turstudien aus drei Jahrhunderten " (1862) is different from, but to be
ranked with, the studies of Freytag.
2)ie geiftigcn unb fojialcn ©trbmungen 2)cutyc^lanbS im ncunje^nten
Sa^t^Uttbcrt. By Theobald Ziegler, Berlin, 191 1 (Ungekiirzte Volks-
ausgabe). 704 pp. A work that cannot be too highly praised, unless it
be that it becomes, at times, somewhat recapitulatory and therefore not
definitive by reason of the great number of topics it attempts to treat.
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SOME DEFINITIONS
Neither romanticism in general nor systematic German
Romanticism in particular has ever been satisfactorily de-
fined, for the simple reason that to do so would necessitate
the use of a term more embracing than the thing defined,
and such does not exist. Indeed no one has ever satis-
factorily defined a definition. Throughout different ages
there have been totally different conceptions of the nature
of a definition ; there was first the Aristotelian, then the
Kantian, now the Modern, which may be abundant, acci-
dental, adequate, analytical, causal, conceptional, con-
structive, descriptive, diagnostic, essential, genetic, nominal,
normal, real, pragmatistic, synthetical, or typical. It is pre-
cisely this fact, coupled with the comprehensiveness of the
Romantic movement, that explains the striking divergence
among the definitions of German Romanticism below listed.
The number could be vastly increased, but these cover the
ground. More would not make the matter any clearer, for,
to quote Otway, German Romanticism is " like wit, much
talked of, not to be defined." And indeed if it could be
defined in a single sentence, or by a single catch phrase,
then the compiling of a loquacious syllabus on it were the
extreme of folly.
The difficulty incident to the defining of Romanticism
might be illustrated as follows : The three greatest
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SOME DEFINITIONS
movements of modem times were the Renaissance (1453-
1690), the Reformation ( 1 517-1552), and the French Revo-
lution (1 789-1 804). The first was intellectual, the second
religious, the third social. The first concerned the mind,
the second the soul, the third the body. Looked at in one
way, each was a romantic movement pure and simple. The
Renaissance placed a new man in a new universe, it revived
the literatures of the East, and it introduced subjectivism.
The Reformation preached justification by faith, it nour-
ished individualism; it made each man's life a sort of Sd^-
Seben. The French Revolution also created, so to speak,
individualism ; it made man aware of his importance, it
taught him that his position and condition are not static
but dynamic. All of this sounds romantic ; Galileo, Luther
and Danton look like romanticists. But to each of these
movements there was another side. The Renaissance intro-
duced naturalism, or the love of earthly life, and its advocates
worshipped tradition as much as did Gottsched and Gellert
in their way; the Reformation worked havoc with the
adoration of the Virgin and the Saints, the supremacy of
the Pope and the doctrine of transubstantiation ; the French
Revolution was a realistic, bourgeois affair. All of this is
wholly unromantic. To make a long story short, it is im-
possible to reconcile the teachings of Rome, Wittenberg
and Paris with those of Berlin, Jena and Heidelberg.
When men like Werner and Brentano, even Protestant
Novalis, were heralding the glorious virtues of Catholicism,
they were preaching doctrines that were fundamentally
opposed to at least one of the most essential tenets of
Romanticism as popularly understood. Nor did Romanti-
cism accomplish its best results by way of reviving the
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OUTLINE OF GERMAN ROMANTICISM
languages that took on a new lease of life after the fall
of Constantinople. And the French Revolution with its
dethronement of romantic sovereigns was essentially a
Philistine event. German Romanticism abounds in contra-
dictions and does not admit of a concise definition.
The situation is, however, not hopeless ; it is about as
follows : Literature has to be studied (i) from the stand-
point of form, (2) from the standpoint of content. As
to form, no one can boast of advanced intelligence on
the ground that he has noticed that all pure literature is
lyric or epic or dramatic. The core of the lyric is emo-
tion, of the epic narration, of the drama action. That
these three gradually merge one into the other, that it is
impossible to say where the one stops and the other begins,
that there are many dramatic poems and epical dramas and
lyrical epics, — these facts, too, are perfectly apparent to
anyone who can read literature with ease and acumen and
who has read it with care and discrimination. But however
vague these dividing lines may be, there are just three
forms and there is not a fourth. One may, to be sure,
write a newspaper editorial or a report to a public-service
commission in language so perfect that the production can
be called "literature," but this is speaking loosely. This
outline has to do only with literature in the narrower sense,
with the creative writings of acknowledged poets, where
fancy and imagination, and not simply good taste, logical
reasoning, and acquaintance with the subject discussed,
determine the nature of the ultimate product.
And from the standpoint of content, there are just
three ways of looking at a subject, there are just three
sorts of poets: Rationalists, Realists, Romanticists. The
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SOME DEFINITIONS
Rationalist reasons out his problem. He does not tell us
so much what his characters do, he does not tell us how
they live and love and hate, how they toil and strive to
meet the difficulties of everyday life. He tells us rather
why they do all of these things ; he explains their con-
duct; he makes things clear. He adds up the plus and
minus features of their existence, takes a careful invoice
of the situation and then says that it came out, or must
come out, thus and so. He says all he has in mind;
there is precious little between his lines. He spends his
time on the determined or determinable phases of life.
He uses no symbolism, he takes no risks, he expresses
himself on nothing until he has thought it over. When
Saladin asked Nathan which was the best of the three
religions, Nathan at once intimated that he must suspend
judgment until he had had an opportunity " sich zu be-
denken." And after he had told his SWard^en, Saladin,
Orientalist that he was, wanted the thought carried fur-
ther; but Nathan replied that he was through, that the
story could have but one ending, and that this was per-
fectly clear to anyone who had thought it* over. That is
the way a Rationalist uses the most common Romantic
conceit. Strictly speaking. Rationalism is the lowest type
of pure literature, for in it imagination or creative fancy
plays at most only the r61e of a voiceless supernumerary.
Rationalism is shallow and apt to be pedantic ; but it is
the most reliable type of literature. To say that Lessing
was an extreme Rationalist is to pay Rationalism an ex-
treme compliment.
The Realist (the Naturalist is only a Realist of another
shade ; the term is of no use), on the contrary, gives us
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OUTLINE OF GERMAN ROMANTICISM
pictures of real life. He leads us straight into the factory,
the mine, the street, the home, the chapel, the saloon, the
salon, and shows us, in detail and without reserve, the things
that are happening there. Jj>jjnen not c on ce rn h i ms r i f
about the reason of it all, hfeattempts to picture, to photo-
~graph, what he sees in such str ong colors that the man
who reads wiTf be convinced' that the go od of whic h he has
jusfTTeard should be encouraged, or the evil — -it is gener-
ally this — ^ sTiould be corrected. In ' ' Glaubejind Heimat "
TCarl Schonherr does not reason about the relative merit
of creeds, he shows how Catholics and Protestants live
and how vicious intolerance can become. Realism is one
of the most pronounced tendencies in the literature of to-
day. It is more effective than Rationalism, for the demon-
stration is more effective than the discussion. To say that
Goethe was a Realist of a high order is to pay Realism a
high compliment.
But with the Romanticist all this is different. He may
introduce Rationalism by way of contrast or satirically, as
Tieck did in " Kaiser Oktavianus." He may introduce
Realism by way of emphasis or humorously, as Amim did
in ** Ganzgott und Halbgott." But such introductions are
with him a matter of effective and expedient distribution
of light and shade ; they are by no means the main thing.
The Romanticist does not reason out his problem definitely
and with logical clarity. Having a good deal of respect for
his reader, he treats his problem ideally. Also, he deals
with the suggestive and apprehended phases of life, and
he does this allegorically and symbolically. Symbolism
and Romanticism are as nearly synonymous as ** begin **
and "commence.'* The two figures of speech that the
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Romanticist uses most frequently are metaphor first and
simile second. When Tieck said, fiiebe benit in fufeen
S6nen, he employed a Romantic trope that is interesting
by way of contrast with the last strophe of Heine's
** Abenddunkel.*' When Friedrich Schlegel, or some one
else, said that architecture is frozen music, he made a re-
mark that would not be appreciated, even if understood,
by a man who understands only Rationalism and Realism.
The Rationalist thinks, the Realist observes, the Romanticist
imagines. Unrestrained Rationalism is apt to become dry.
The same sort of Realism is apt to become blatant. The
same sort of Romanticism is sure to become untrue. That
the three gradually merge one into the other does not need
to be stated. That there is some romanticism in all good
literature is equally obvious. To say that **Taugenichts,"
'* Schlemihl," " Undine,'' the second part of '* Faust," are
Romantic, is to pay Romanticism a profound compliment.
To say that Tieck, from 1797 to 1821, was the archtype
of a Romanticist is to temper our enthusiasm.
Thirty-one "definitions" of German Romanticism,
about equally divided between poets and scholars, follow.
Three hundred would not make the matter any clearer.
With but one exception — that of Herbert Penis — all are
from indisputable authorities.
German Romanticism is ©cclcnfultltr. — Wernaer.
2)cr ®cift bcr gcfammtcn antifcn ^unft unb ^ocfic ift plaftifd^, \o roic
bet mobcrncn pittorcgf. — A. W, Schlegel.
German Romanticism was an attempt to create a harmony of intellect
and heart, of life and art, on the basis of individualism. — Robertson.
Slbcr roaS ift baS Stomantifd^c anbcrS alS cin ©cl^ncn nod^ bcm Una
enblid^en^ bad unaufi^altfam forttreibt unb jebe felbfterbaute ©d^ranfe
fofort roicbcr l^ctuntcrrcijt?— Steffens.
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OUTLINE OF GERMAN ROMANTICISM
Romanticism — a most awkward and inadequate name for a literary,
artistic, and philosophical movement of a highly composite character
and most diversified ramifications. — Francke.
2)cnn eg roirb bod^ immcr bcr rocfcntlid^c gl^araftcr bcS Stomantifd^cn
blcibcn, ba^ bic Slbgcfd^lofjcnl^cit fel^It, unb ba^ immcr nod^ auf cin SBci^
tcrcg, auf ein gortfd^rciten gcbcutct roirb. — Cams.
2)cr ©cgcnfa^ jroifd^cn ^laffijigmuS unb Slomantif ift ein fontrSrcr;
eS ift l^cutc cin Scid^tcg, bic ©pnt^cfcbicfct fonttfttcn ©cgcnfcl^c ju doH-
jic^cn. 2)cr)cnigc, bcr bicfc ©pntl^cfc in fcincm Scbcn, rocnn aud^ x>om
flaffijiftifd^cn ©tanbpunft au^, jucrft faft ganj mobctn, DoHsogcn f)ai, ift
®oct§c gcrocf en. — Lamprecht.
SBaS abcr roar bic romantif d^c ©d^ulc in 2)cutf d^lanb ? @y.roar ni d&tg
a nbcrg alg bic gSicbcrcrrocdunft bcr ^oefte beg gRittcIaltc rg. rote fie fid^
iiTbcffcn iJtcbcrn, sotlbs unb Saurocrfen, in ^unft unbScBcn manifcfttcrt
§attc. 2)icfc ^ocfic abcr roar auS bcm ©l^riftcntum l^crDorQCQangen, fie
roar cine ^affiongblume, bic bcm 33lutc ©l^rifti entfproffen. — Heine.
^ffH fffnffiff^p wonno id^ bo 8 (S e f^nbo^ unb bag yomo w tifd^e bag
fiTflnff ^"^ i><» finb bie SRibclungcn claffifd^ rote bcr §omcr, benn beibc
finb gefunb unb tiid^tig. 2)ag mciftc 9icucrc ift nid^t romantifd^, roeil eg
neu, fonbcrn roeil eg fd^road^, franftid^ unb fran! ift, unb bag Slltc ift
nid^t claffifd^, roeil eg alt, fonbcrn roeil eg ftarf, frifd^, fro^ unb gefunb
ift. — Goethe.
2)ic SRomanti! ging bcm fii^en, Dolfgtilmlid^en ^one einer ©d^almci
nad^, roie fie ^inber ober §irtcn blafcn, fc^tc fie felbft an ben SKunb, ^ab
fid^ bcr roilben, freicn ^Ratur ^in, ftolj, cinmal bie ^ultur abftrcifcn ju
fbnncn, unb ging babci unDcrfc^eng i^rer gebilbctcn ©eiftegfrdfte Dcrs
luftig, big fie fd^licglid^ nid^tg anberg mel^r fonnte alg auf ber ©d^almei
btafen. — Huch.
2)ic SRomantif ift cin ^roteft gcgen flcinlid^c Sntcreffen, filmmcrlid^c
3Koral, fpic^biirgcrlid^e 3i>ccilc, fentimcntalc Sebengauffaffungen ; fie ift
cin ^ampf gcgen aUe bicienigen, bic eng in SSorurtcilcn gebunbcn blcibcn
unb babci fid^ mit ^od^trabenben Slcbengarten unb erborgten 3^ealcn
roid^tig madden. 2)ic Slomantifcr rooHcn bie 2)cutfd^en tiefcr fel^en, grds
Jcr bcnfcn, roal^rer fii^lcn Ic^rcn. 2)egl^alb fud^en fie aUeg Sebcn in
^oefic 3U taud^en. — Joachimi.
2)ic Slomantifcr finb Don §aug aug 3roiclid^tnaturen. 3Bo bie 95er*
ftanbegbenf cr ober Slationaliften nad^ ben gorberungen bet §9gienc Sid^t
unb Suft Dcrlangen, ba erfe^ncn bie ©cfii^lgbenfet ober Swationaliftcn
bag galbbunfel, ben 2)(immerfd^ein, bag 9lbenb« ober StU^cot. 9B(i^enb
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SOME DEFINITIONS
bie Slomantifer baS 2111 in il^r 3c^ Ijincinbcutcn, laflcn bic ^laffifet urn*
gcfel^rt bag cigcnc Sd^ im 2111 aufgc^cn. ©pinoaa tfifc^t fcin 3cl^ DbHig
auS; gricbric^ ©d^lcgel ftel^t in jcincm ^6) baS //S^"*^'"''* — Stein.
2)er ©tunb^cgriff bcr ©d^ulc, rocld^cr id^ au6) angc^brc, ift: barman
5u eincm ^unftroer! nic^t mit bcm blo^cn aSerftanbe, fonbcrn mit bcm
®inflang aHer feincr ^rdftc, ^l^ontafte unb ©cfii^l mitgered^nct, trcten
mu^^ n)enn man eS begreifen roiU^ ba^ man von bem ©lau&enSfa^e auS-
gel^t: aUeS, n)ad einmal entftanb; mu^te nad^ ©efe^en entfte^en; unb ba^
man einc uncnbUd^c SWannigfaltigfcit bcr SBegc, bic bag ftinftlcrifd^e aSer-
mogen cinfd^lagcn !ann, jugicbt. — Immermann.
2)ic ^ongebct untcr unS finb, roaS Jean ^aul roeiblid^c (Sentcg ncnnt.
2)a fcl^It eg rocbcr an ©mpfanglid^fcit nod^ Siebe fiir baS ©c^dnc, abet
an ^raft c§ ju gcftaltcn unb aufecr fid^ ^injuftcUcn. . . . SlUe gro^cn
SKciftcr aUet 3citcn Don ©^afefpcarc unb SKilton big ©oet^c warcn mcl^r
ober roenigcr plaftifd^. . . . 2)ic gormlofigfeit, roeld^e ein ^auptingrcbicnj
bcr fogcnanntcn SRomanti! ift, roar Don jci^cr cin 3«ici^cn cincS fd^wad^cn,
frdnfclnbcn ©cifteg, bcr fid^ fclbft unb fcinen ©toff ju bcl^crrfd^en nid^t
Dcrmag. — Grillparzer.
@g roar in iDcutfd^lanb vom ^^araftcr beg 9%omantifd^en fo mel bic
9lcbc gcrocfcn, unb Dom ©albcron fo oici fiir bic aUcgorifd^c ^ocfic he^
gciftcrt, Dcrfud^tc id^ eg, in bicfcm rounbcrfamcn 3Wdrc^cn juglcid^ mexne
Slnfid^t bcr romantifd^cn ^oefic aUcgorifd^, I^rifd^ unb bramatifd^ nicbcr*
picgen. (Read prolog ju Dftaoian, " Schriften," Volume i, pages 1-36.
Characters are ®Iaubc, Sicbc, ^apfcrfcit, ©d^crj, Slomanjc, ^ilgerin,
Sicbcnbcr, 3^ittcr, ^irtcnmcibd^en, groci 3^eifenbc, ^lifter, (5§or oon ^ric?
gem, 6^or oon ©c^dfcrn unb ©d^dfcrinnen.) — Tieck.
SlUc Umrodljungcn in bcr bcutfd^cn Sitcratur . . . finb oon jungcn
3Wcnfd^cn auggcgangcn. . . . 2)ic SRomantif ift mc^r alg aUcg anbrc bic
2)id^tung cincg ncucn Sugcnbgcfd^lcd^tcg, bag jucrft ncben ben ^laffifcrn,
balb barauf gcgen fie roirft unb ffimpft. (Sg fud^t mit fcincm gutcn 3u=
gcnbred^t ncucn Sw^olt unb ncuc ^unftformcn, ganj fo roic eg einft bie
^laffifer jctan, alg fie nod^ bic ©tiirmcr unb 2)rdngcr l^ic^cn. . . . 3u=
genb ftc^t auf bcm Sanner bcr SRomantif gcfd^ricbcn, unb nur alg einc
Scbcngfiu^crung bcr 3w9««^ ift ^ic romantifc^c 2)id^tung menfd^Ud^ ju
begreifen. — Eduard Engel.
After frosty Konigsberg and sunny Weimar — the long debauch of
Romanticism. It is dead and gone and we may to-day speak plain truth
about it without offence. Not that this o//a podrida was devoid of good
elements — But what of the neo-mediaeval ©d^rodrmcrci and ^rciumcrci,
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OUTLINE OF GERMAN ROMANTICISM
with its sham-chivalry and sham-mysticism, its play-erotics and play-
aesthetics, its maudlin rhetoric and stage machinery of doom curses,
devil's elixirs, poisoned daggers, clanking chains, castles by the sea,
... its Undines, mandrakes, Doppelganger, and death-horses, its pseudo-
oriental cult of resignation, its muling and puking, yearning and postur-
ing ? — Herbert Perris.
g. ©c^lcgel braud^t irgcnbroo bcnSluSbrutf: „2Benn bie ncucre ?ocfie
iiber^aupt UnDergdnglic^eS ^etDorbringcn fann pp". 2)aS flang mix an*
fongS rounberltc^, boc^ ^ot bcr SluSbrud ®tunb. 2)ic gricd^ifd^c ?ocfie
bcf cicbigt f ein SBcltbcbilrfniS mel^r ; fie bouert abet fort, weil fie in fidj
DoUenbct ift, rocil fie in fid& ooHenbet roerben f onnte. 2)ic romantic
f d^ e ^fie fd^UeJt bie SSoHenbung auS, 2) ar fte llun g beS Slomantifd^en
im eigentlid^ften (griec^ifc^en) ©inn ift nic^t moglid^. ^onnte alfo bie
^e(t fic^ nod^ einmal ctnbem, prte fie auf, ^e(t-^ebitrfnid ju fein,
fo ftiirjte ba3 gunbament i^rer ©giftenj jufommen unb fie l^fitte auSge^
Ubt — Hebbel.
3c§ §atte eine (Smpfinbung, alS roenn mix vox mix fclber efclte, baj
id^ ^ier fo rul^ig unb gliidE Uc^ f ct^e. . . . !Dabei 'lam id) abet nac^^er auf
bie 3bee, biefe (Smpfinbung in cine Dbe ju bringen, unb iiber^aupt eine
ganj eigene SMrt Don Obcn ein^ufii^rcn. . . . ©ie foUen ben ed^ten, roaf)^
ten 2lugbrud^ ber Scibcnfc^aft barfteHen . . . unb ba^u bienen, SKenfd^en
^enfc^enl^erjen fennen ju le^ren, 3Wenfc§en 3Wenfd^en ju erflaren unb ju
entbcden, unb 3Kenfc^en vox 3Wenfc§en ju oerteibigen. . . . 2)ie ^ritif ift
nid^t bag ebelfte Seftrebcn, unb nid^t bag pd^fte SBerbienft beg 3Kenfd^en.
. . . ^ux ©d^affen bringt unS ber ©ott^eit na^er; unb ber ^ilnftler, ber
2)id^ter ift ©c^opfer. ®S lebe bie ^unft ! ©ie allein er^ebt unS iiber bie
(Srbe, unb mac^t unS unferS ^immelg wiirbig. — Wackenroder.
2)ie beutfd^e SRomontif ift ftlter alS bie fran^ofifd^e. Sefttere ift bireft
auS bem SBiberfprud^ gegen bie Sleoolution entftanben. 2)ie beutfd^e
SRomantif befingt fd^on mit grift ©tolberg bie SBaffentaten ber ^l^nen,
fie begeiftert ^lopftod ju feinen jeftt ungenieparen Sarbieten, fie begleia
tet Berber auf ben gorfd^ungSreifen, bie er bei alien SRationen nad^ bem
urroilc^figen SBolfSlieb unternimmt, fie fteigt mit ®6ft oon Serlic^ingen
ftola ju ko% \a fie fattelt bem greifen SBielanb nod^ ben ^ppogr^pl^en
8um SRitt ins alte SBunberlanb. 2)ie beutfd^e 9lomantif ift auS ber neu
erroac^ten Siebe jum werlorenen SSaterlanbe entftanben, beffen monbbe*
glfinjte ©d^Ibffer unb Surgen auS ber 5Wad^t ber geiten jauberifd^ empor*
tauc^ten ; einSBallen in bie^raumroelt fernliegenber Sai^r^unberte nmr eS,
aug ber oft fein feller $fab me^r in bie ©cgenroart suriidEfii^rte. — Bom.
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SOME DEFINITIONS
The et)rmology of romance is familiar. The various dialects which
sprang from the corruption of the Latin were called by the common
name of romans. The name was then appHed to any piece of literature
composed in this vernacular instead of in the ancient classical Latin.
And as the favorite kind of writing in Proven9al, Old French, and
Spanish was the tale of chivalrous adventure, that was called par excel-
lence^ a romany romansy or romance. The adjective romantic is much
later, implying, as it does, a certain degree of critical attention to the
species of fiction which it describes in order to a generalizing of its
peculiarities. It first came into general use in the latter half of the
seventeenth century and the early years of the eighteenth century ; and
naturally, in a period which considered itself classical, was marked from
birth with that shade of disapproval which has been noticed in popular
usage. — Beers.
Les romantiques sont trop souvent victimes des definitions qu*on a
donn^es du romantisme. Trop souvent on cherche dans leur vie ou
dans leur ceuvre ce qui peut confirmer I'idee qu'on se fait de leur doc-
trine, alors que Tetude impartiale des faits devrait, au contraire, corriger
ce que les definitions ont de trop rigide et de trop absolu. On dit et
Ton repete que le romantisme a ix£ essentiellement une reaction contre
le classicisme. Or c'est la loi m€me de revolution Httdraire qu'une ecole
nouvelle se constitue en opposition avec celle qui Pa prec^d^e. Le clas-
sicisme n*a pas ^chappe \ cette loi, pas plus en AUemagne qu'en France.
Le romantisme la confirme ^ son tour. Pour etre autorise \ lui en faire
un grief particulier, il faudrait ^tablir qu'il n'a su que prendre en tout,
de propos delibere, le contrepied du classicisme. L'ceuvre et le carac-
t^re de Frederic Schlegel ont souvent et^ invoqu^s ^ I'appui de cette
th^se. — Rouge.
This vagueness has adhered to the word ever since, — more espe-
cially, perhaps, in the usage of German writers, who are prone to label as
" romantic " any poetic, literary, religious, philosophic, artistic, scien-
tific, musical or political tendency that can be shown to have been fa-
voured by one or more members of the so-called Romantic School. But
really there never was a school, except in the very loosest sense of the
word. There was simply a coterie of friends who were very differently
endowed, and were driving at very different things. For five or six years
they continued in close personal relations, oscillating between Jena and
Berlin. . . . Then they separated. ... In the immediate circle of the
Schlegels there was a deal of talk about the principles of romantic art ;
about irony, and subjectivity and universality, that is, completeness of
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OUTLINE OF GERMAN ROMANTICISM
self-revelation ; about the autocracy of the creative artist, and other such
matters. There is no evidence that the lingo ever influenced a man of
genius, but it gave a sort of sanction to authorial caprice and literary
amorphousness. — Calvin Thomas.
Xa^ ^^nen beg Unenblid^en in ben ^nfd^auungen ift ba§ 9tomantifcl^e.
2)te ©ned^en, in einem fd^onen, genu^reid^en ©rbenftrid^e rool^nenb, t)on
3lai\xv l^eiter, umbrfingt Don einem glfinsenben, t^atenDoUen Se6cn, mef^v
aujerlid^ al3 innerlic^ (ebenb, . . . fonnten ober na^tten nid^t jcne Hm-
membe ©el^nfud^t nad^ bem UnenbUc^en. . . . 2)er ©ol^n beS SRorbenS,
ben feine minber glftnjenbe Umgebungen nid^t fo l^intei^en mod^ten, ftieg
in fic^ l)inob. SBenn er ttefer in fein gnnereS fd^aute, alS ber ©tiec^e, fo
fa§ er eben barum nid^t fo Hat, ©eine ^aiux lag f^alh in ben SBolfen.
• . . 2)ie SRomantif ift nid^t blo3 ein pl^antaftif d^er ?Bal^n beg SKittelalterg ;
fie ift §o^e, eroige ?poefie, bie im 93ilbc barfteUt, waS SBorie burftig obet
nimmer auSfprec^en, fie ift bag S3ud^ ooH feltfamer 3ciuberbilbet, bie unS
im SBerfe^r erl^alten mit bet bunflen ©eifterroelt. 6ie ift bet fd^immetnbe
Slegenbogen, bie 93riide ber ©otter, worauf, nad^ ber ®bba, fie 3u ben
©terbUc^en l^inab unb bie Slugerroa^lten.ju i^nen emporfteigen. . . . 3lun,
fo lajt ung ©c^rofirmer i^ei^en unb glaubig eingel^en in baS grojS roman-
tifd^e SBunberreid^, too bag ©ottlid^e in taufenb oerflfirten ©eftalten urn?
l^erroanbelt. — Uhland.
2)ag Glaive ift eine ^inblic^feit, too fie nid^t mel^r etroartet roirb. . . •
(Sana anberg oerl^alt eg fid^ mit bem f entimentalifc^en 2)ic^ter. 2)iefer re*
fleftiert iiber ben ©inbrud, ben bie ©egenftanbe auf i^n madden. . , .
2)er 2)ic^ter ift entroeber ^Ratur, ober er roirb fie fud^en, jeneg mad^t ben
naioen, biefeg ben fentimentalifd^en 2)ic^ter. ... 2)ie 2)id^ter finb iibcrs
att, fd^on i^rem S3egriffe nad^, bie SBeroa^rer ber SRatur. ... @ie roer*
bett alfo entroeber 3latax fein, ober fie roerben bie uerlorene fud^en. . . .
Sine 2)ic§ter . . . roerben ju ben naiocn ober ju ben fentimentalifd^en
gepren. . . . 2)er 2)id^tcr einer naioen . . . 3w9c«i>roelt ... ift ftreng
unb fprbbe. . . . ®r fte^t Winter feinem SBerfe ; er ift bag SBer!, unb bag
aSerf ift er. . . . ©o jeigt fid^ 3. 93. §omer unter ben Sllten unb ©l^afe^
fpeare unter ben SReueren, groei pd^ft Derfd^iebene SRaturen, aber gerabe in
biefem e^arafterjuge odHig eing. . . . 2)er fentimentalif d^e 2)id^ter l^at eg
. . . immer mit sroei ftrcitenben SBorfteHungen unb (Sntpfinbungen, mit ber
SBirfUc^feit alg ©renge unb mit f einer 3bee alg bemUnenblid^enjut^un. . . .
Jim entftel^t bie ^rage, ob er mel^r bei ber 2Birflic§feit, ob er mc^r bei bem
Sbeale oerroeilen — ob er jene alg einen ©egenftanb ber 2lbneigung, ob er
biefeg alg einen ©egenftanb ber 3uneigung augfil^ren mill, ©eine 2)ars
fteHung roirb alfo entmeber fatirifd^, ober . . . clegifd^ fein. — Schiller.
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SOME DEFINITIONS
^er ^nl^alt bet Siomanti! wax roefentlic^ fat^olifd^^ bad benfiourbige
3eic^cn cincg faft ^etou^tloS ^croorbtec^cnben ^eimroc^S bcS ^rotcftan*
ti^muS na6) hex ^ird^e. 2)ol^cr auc^ bic ouf ben crftcn S3licl befrembenbc
©rfc^einung, ba^ biefe moberne 9tomanti! gerabe im fatJ^olifd^en Sitben
nut rocnig 2lnf(ang gcfunben, roeil cbcn l^icr bic ^oefic bcr 3leligion, bie
fie ^craufbcfc^tDbrcn rooUte, roenigftcnd im SSolfc nod^ fortlcbte; man
crftauntc ober Iftc^eltc ilber folc^e lujuriofc Slnftrengungen fiir (SttoaS, baS
fic§ ja Don felbft Dcrftanb. 3m norblid^en 2)eutfc^lanb bagegcn, roelc^cm
bie 3lomantifer angeptten, roaren biefe faft oi^ne 2lugnal^me protcftantifd^
gefd^ult unb in ber au^erfird^Iid^en SBiffenfc^aft unb SebenSgeroo^n^eit
aufgeroac^fen. ©ic mu^ten balder glcid^fam fid^ felbft erft ing fat^oUfc^e
3biom iibcrfcften, bad nid^t i^re 3Kutterfprad^e roar ; fie l^atten bort friil^s
jcitig fd^on Dom Saume ber ®rfenntniS genafd^t unb jene fatl^olifd^e Un=
befangenl^eit unb Unfc^ulb oerloren, bie, roeil fie eg gang ift, faum roeife,
ba^ fie fat^oUfd^ fei; eS fel^lte iJ^nen mitl^in ber natiirlic^e 93oben einer
fatl^olifc^en ©efinnung, bie allein oermogenb roar, il^re flberjeugungen
jur lebenbigen poetifd^en ©rfd^einung ju bringen. 2)al^er i^re unfic^ere
§altung, biefer gemac^te, fprungl^afte, forcierte ^at^oUjidmuS, ber, ftetd
unbefriebigt, immer iiber fic§ felbft l)inau3gel^t. — Eichendorff.
2)aS Seben ift ctrooS, roie garben, ^onc unb ^raft. 2)er 3flomantifcr
ftubiert baS 2ebtn, roie ber 3Waler, 3Wufifer unb HWed^anifer garbe, ^on
unb ^raft. ©orgfaltiged ©tubium beg SebenS mac^t ben SRomantifer,
roie forgfdltigeS ©tubium Don garbe, ©eftaltung, ^on unb ^raft ben
3Kaler, SJlufifer unb HWec^anifer.
2)er SRoman ift DoUig alg SRomanje ju betrad^ten.
2)ie ^unft, auf eine angenel^me 2lrt ju befremben, einen ©egenftanb fremb
3U mac^en unb boc^ befannt unb anjie^enb, bag ift bie romantifd^e ^oetif.
Siomanti!, 2lbfolutifierung, Unix)crfalifierung, ^laffififation beg inbi?
mbueHen 2Womentg, ber inbimbueHen ©ituation ufro. ift bag eigentlid^c
SBcfen beg Slomantifiereng.
5Der 3loman ift gleid^fam bie freic ©efd^id^te, gleid^fam bie HK^t^ologie
ber ©efd^ic^te.
SfJic^tg ift romantifd^er alg roag man gerob^nlid^ SBelt unb ©d^idfal
nennt. 2Bir leben in einem (im gro^en unb fleinen) SRoman. S3etrac§tung
ber Segeben^eiten urn ung l^er.
2)ag HWard^en ift gleid^fam ber ^anon ber ^efie. OTeg ^oetifd^e mu^
mSrd^en^aft fein.
@in aWfird^en ift roie ein Xraumbilb, o^ne Sufammenl^ang. ©in ^n^
fcmble rounberbarer2)inge unbS3egebcn^eiten, a.SB. eine mufifalifd&e^l^an*
tafic, bie l^armonifd^engolgen einer Stolg^arfe, bic Sflaturfelbft*— Novalis.
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OUTLINE OF GERMAN ROMANTICISM
gragcn toir bod^ licbcr baS ®cfiil)l, roarum eg j. S3, fogar einc ®cgenb
romantifd^ ncnnt. ®inc ©tatuc fd^ticfet burd^ il^rc engc unb fc^arfc Um^
fd^reibung jjebeS ^omantifc^e au§; bie 3J2alerei nd^ert fid^ fd^on burd^
3Wcnfd^ens®ruppicrungen il^m mel^r unb crreic^t eg o§nc3Wcnfd^cn inJ^anb*
fd^aftcn, 8. 33. in ©loube. ®in ^ollanbijc^cr ©arten erfc^cint nur al§ bcr
SBiberruf jcbcg SRomontifd^en, abcr ctn cnglifd^er, bcr fid^ in bic unbes
ftimmtc i^anbfd^aft auSbel^nt, fann unS mit ciner tomantifd^cn ©cgenb
umfpielcn, b. 1^. mit bem ^intcrgrunbc ciner ing ©d^dnc frci gclofjcncn
^^antafic. . . . 2Bcr ift nun bic 2Wuttcr bicfer 3lomantif ? — SlUcrbingS
nid^t in jebcm Sonbc unb Sa^ri^unbertc bie c^riftlid^e 3^e(igiott, abcr jebe
anbere ftc^t mit biefer ®otteg=2Wutter in SBcrroanbtfc^aft. Qmi romanti*
fd^c ®attungen ol^ne ©l^riftentum, einanbcr in SluSbitbung roic in ^lima
frcmb, finb bic inbifc^c, unb bie bcr ®bba. 2)ic altnorbifd^c me^r ond
©rl^abenc grcnjenbc f anb im ©c^attenrcic^c i^rer f limatif d^cn Dcrfinftcrtcn
©c^aucrnatur, in i^rcn SRdd^tcn unb ouf i^ren ©cbirgen jum ©efpenftcr^
or!uS cine grcnjenlofc ©eifterroelt, roorin bic cngc ©inncnroclt jcrfloj unb
t)crfon! ; bal^in gcl^brt Dffion. . . . 2)ic inbif d^c Siomanti! bewegt ftd^ in
ciner aUbelebcnben 3leligion, wcld^e Don ber ©innenroelt burd^ aSergei»
fterung bic 6d^ran!cn wegbrac^. . . . 2Bir gclangen nun jur d^riftlid^cn
9lomantif. . . . 2)cr SRittcrgeift— bcr o^nel^in !^icbe unb SicUgion, £>ame
unb Notre-Dame, ncbcncinanbcr auf feincgal^nen ftidtte — unbbic^rcuas
jiige, roctc^c man jrocitenS ju aSdtcrn ber Slomanti! mad^te, finb ^inber
ber c^riftlid^cn. — Jean Paul
2)ic romantifd^e ^oefie ift cine progrcffiuc UniDcrfalpocfte. 3^rc 83cs
ftinunimg tft nli?t blup, AUS getrenmc i2)ouungen oer ^jiocite roieber ju
Dcreinigen, unb bie ^ocfic mit ber ^^ilofop^ic unb Si^etorif in 93eriil^5
rung au f e^cn. 6ie win, unb foil auc^ ^ocfic unb ^rofa, (Scnialitat unb
^ritif, ^unftpoefie unb ^Raturpoefic balb mifd^cn, balb oerfc^melacn, bic
^oefic lebenbig unb gcfeHig, unb baS Seben unb bic ©efeUfc^aft poctifc^
madden, ben SBi^ poetifieren, unb bic gormen bcr ^unft mit gebicgcncm
SitbungSftoff jcber 2lrt augfiiHen unb fdttigen, unb burc§ bie ©d^roingen
beS Rumors bcfcelcn. ©ie umfa^t attc^, roaS nur poetifd^ ift, oom grdj-
ten roicber mel^rc ©^ftcme in fid^ cntl^altenbcn ©^fteme ber ^unft biS ju
bem ©eufser, bem ^u^, ben ba§ bid^tenbe ^inb auS^aud^t in funftlofem
®efang ©ie ift ber l^bc^ften unb ber attfeitigften S3ilbung fdl^ig
2)ie romantifc^e ^oefte ift unter ben ^ttnftcn mag bcr SBi^ bcr ^^ilo^:
fopl^ic, unb bic ©efeUfc^aft, Umgong, ??rcunbfd^aft unb Sicbc tm Seben
ift. 2lnbre ^id^tarten finb fertig, unb fdnnen nun oottftfinbig scrgltcbcrt
rocrben. SDic romantif d^e ^ic^tart ift nod^ im SBcrben ; yx, baS ift i^r
cigentlid^ag SBefen, ba^ fie emig nur roerben, nie ooHenbet fein fann. ©ie
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SOME DEFINITIONS
fann butd^ fcinc Zf^eotie crfd^opft tucrben, unb nur einc biDinatorifd^c
^ritif biirftc cS roagen, if^x S^eal c^araftcrifieren ju rooHcti. Bit aUetn
ift unenblid^, roie fie allcin frei ift, unb baS olg il^r crfteS ®cfc^ anerfennt,
ba^ bic SBiUfiil^r beg 2)ic^terg fein ©efeft iiber fid^ leibe. 2)ie romantifc^e
3)ic^tart ift bie einjige, bie mel^r alg 2lrt, unb gleid^fam bie 2)icl^tfunft
felbft ift : benn in einem geroiff en ©innc ift ober foil alle ^oefie romantifd^
fein. — Friedrich Schlegel.
2Bag ift SRomantif ? — 3Kan erinnett fic^ oieHeid^t, . . . ba^ id^ anfangg
mit ejnigen bidten Srrtiimcm unb Uberfd^a^ungen . . . ouf biefe ntoberne
5Belt lo^gegangen bin. . . . 3d^ oerftanb ben p^ilofop^ifd^en ^efftmiSmu^
beg neunjei^nten 3a§^^§«nbertg, roie al§ oh ex bag ©^mptom Don ^ol^erer
^raft beg ®ebanfeng, oon oerroegenerer ^apferfeit, oon fiegteic^erer giiUe
beg iiebcng fei. . . . 3«^glcic§en beutete ic§ mix bie beutfc^e 3Wufif jured^t
^um Slugbrud einer bion^fifc^en HWad^tigfeit ber beutfd^cn ©eele. . . .
3Wan fiel^t, id^ oerfannte bamatg, forool^l am pl)ilofopl)ifc^en ^effimigs
mug n)ie an ber beutfc^en 3Wufif, 2)ag roag il^ren eigcntlid^en ©l^arafter
augmad^t — i^re SRomantif . SBag ift SRomantif ? 3ebc ^unft, jjebe ^i^ilos
fop^ie barf alg ^dU unb ^iilfgmittel im 2)ienfte beg wad^fenben, famp=
fenben Sebeng angefe^en roerben. ©ie fe^en immer Seiben unb Seibenbe
Doraug. Slber eg gibt jroeierlei Seibenbe, etnmal bie an flberfiille beg
Sebeng Seibenben, . . . unb fobann bie an ber 33erarmung beg Sebeng
Seibenben, bie Sluice . . . fud^en, . . . ober aber ben 3laufd^. . , . 2)em
2)oppelbebilrfniffe ber Seftteren entfprid^t alle 3lomanti! in ^iinftcn unb
®rfenntniffen, i^nen entfprad^ ebenfo ©d^open^auer alg Slid^arb
SBagner. . . . 2)er 3leic^fte an SebengfiiHe . . . !ann fid^ nid^t nur ben
Slnblidt beg giird^terlic^en . . . gbnnen, fonbem felbft . . . jeben Sujug
t)on S^J^ftSning. . . . Umgefe^rt roiirbe ber Seibenbfte ... bic grieblid^-
feit . . . nbtig ^aben. ... 3" ^infic^t auf alle aftl^ctifd^en SBerte bebicne
ic^ mid^ iejt biefcr ^auptunterfd^eibung : id^ frage in jebem einaelnen
gattc, ^ift ber hunger ober ber ftberflu^ fd^opferifd^ gcroorben ?''...
9Son Dorn^erein mbc^te fid^ eine anbere Unterfd^eibung me^r ju empfe^len
fd^einen, ndmlid^ bag Slugenmerf barauf, ob bag SSerlangen nac^ . . . S5er-
eroigen . . . ober nad^ S^f**^'^""^ *P* • • • ^^^^ ^^^^^ Slrten errocifen fic^
noc^ alg jroeibeutig. . . . 2)ag SSerlangen nad^ 3c'^f*^'^"9 • • • f^"« ^^^^
Slugbrud ber iiberfiiUten ^raft fein (bion^fifd^), . . . aber eg !ann ber ^a§
beg (gntbe^renben fein, ber serftbren mu^ 2)er SBiHe sum SScreroigen
bebarf gleic^faUg einer aroeifad^en Sntcrpretation. (Sr !ann einmal aug
2)anfbarfeit fommen (apoHonifd^)— SRubeng, §afig, ©oet^e— . . . er
fann aber aud^ ber tgrannifd^e 2Bille eineg ©d^roerleibenben fein, ber an
aUen 2)ingen glctc^fam SRad^e nimmt. . . . Sefttereg ift ber romantifc^e
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OUTLINE OF GERMAN ROMANTICISM
$efftmidmu3 in fetnet audbruffooQften %ovm, fei ed aid Sd^opeit^auerfd^e
SBiUcnSp^ilofopl^ie, fci eg old SBagncrfc^c 3Wufif :— bcr romantifd^c ^cf:»
fimiSmud, ba$ tcfttc groje (grcigniS im ©d^idfal unfcrcr ^ultur. (2)aJ
eS nod^ cinen gana anbeten ^cffimiSmug gcben fdnne, eincn flaffifdjcn,
bicfc Sl^nung gc^drt 8" mir . . . nur bag tncincn D^rcn bad SGBott
/rflaffifc^'' toibctftc^t, cd ift hex roeitcm ju abgcbraud^t, ju runb unb
unfenntlid^ gctDOtbcn. 3c§ ncnnc jcnen ^cffimidmuS bet 3^^"!* • • •
ben bion9fifcl^cn ^cffimiSmud.)— -Nietzsche.
©0 bin id^ cnblid^ bir entronnen,
etabt bcr ^ritif unb ^otitif,
TOd^ lodt ^inauS bcr aJlaicnroonncn
UnroiberftcJ^lic^c 2Wuftf.
%af)v ^in, bu ^avm bcr geitungSblattcr,
2)cr roibcrroortig gcUcnb fc^attt,
3Wir ift, aid ^drt' ic^ ^orngcfd^metter
^ud cinem fcrnen Sud^enmalb !
Unb nun mit J^ciPgcm EKorgenftral^Ie
gdrbt fid^ ber ^od^roalb griin unb falb,
3u gii^cn mir bad ®din bcr ^ale,
3u $)aupten mir bad Slau bcr Slip,
^ie Scrd^e ftcigt in ^latterfd^njingung,
©tumm audgcbrcitct fd^roimmt bcr 2Bei§,
"i^a^ SRcl^ burd^brid^t bic Sauboerfd^Ungung,
Unb aud bcm ©tromc fd^aut bic ^ci.
@d fpiclcn bunfclrotc Sid^tcr
3n mcincd ^clc^cd ^urpurnac^t;
2)ir fci, ^aifcrin bcr 2)id^tcr,
Slomantif, bicfcr ^runf gcbrad^tl
aSor bcincr ®rbc, bcincm SBaffer,
3n bcincr Suft unb bcincm Sid^t,
2Bo mir !cin 3Wi^(aut bcincr §af(cr
2)cn fcl'gcn ^aumcl untcrbrid^t.
2)u ©c^il^crin bed ^cil'gcn ©rabcd,
5lricm§ilbc, bic um ©icgfricb rocint,
©cfpiclin bu bed 3Konbcdftral^led,
2)cr ilbcr ^clbcngrftbcr fc^eint,
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SOME DEFINITIONS
2)u bift ®cfang im ©tromgetoUe
Unb ^arfenfaufen in bem S3aum,
^u aogft auetft ind SSunbetDoUe
!DeS erften 2)icl^terS SD^aientraum.
2)u warft grau SSenuS bcm ^ann^ftufcr
Unb Sorclci bcm altcn Sl^cin,
2)u jd^roitttt am ^eic^ burd^ Sittcrrcifcr
911S @rlen!dnigd %'6(S)texlein,
Unb feit bad 9$o(f^ bad fam|)fedblinbe,
2)icl^ iiingft DcrfticJ t)on feiner ©cit',
2:rinfft bu im SBalb bic mi(S) bcr ^inbc,
2)ie ®cnot)ct)a unfrer 3cit.
Unb bod^/ Setfto^ene burd^ Serblenbung^
2Bie bift bu rcid^ tro^ 3^^* «"^ 3<>'^" ^
2)u leerft in gbttlid^er SSerfdJrocnbung
2:agt(ig(id^ nod^ bein SSunberl^om.
^^ gtttje bic§ mit frommem ©innc,
$Bic ift bcin ^eid^ fo griln unb rocit I
2)u giirftin Diclgctrcucr 3Winnc,
6ci taufcnbmal gcbcnebciti —
@d fd^meigt bie SBelt; bie 3n>^id^ niden,
Unb Icifct atmenb pulft bet Bee,
®d fdat ein mdvd^enl^aft @ntsiidEen
2Wir ilbctS ^crj roie ©liltenfd^nec.
3ut; Slnbad^t roirb bcr 93lftttcr «piaubcm,
©l^rfitrd^tig Uegt bie SBoge ba ;
^a, frommed Sl^nen, filled ©d^aubcm^
$ei( bit, 9lomanti!; bu bift na^ I
Von Strachwitz
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SECTION III
GENERAL TREATISES
One of the idiosyncrasies in connection with the gen-
eral studies on German Romanticism is the fact that the
members of the older group have been much more studied
than their younger and, as poets, more highly gifted
brothers in Apollo. And one of the most glaring in-
consistencies in connection with the whole movement
is the fact that, although the nineteenth century was
essentially historical, and although the Romantic move-
ment is associated and hopelessly bound up with Ger-
many's greatest historians, neither the science of writing
history nor the history of the movement has ever been
written. F. C. Dahlmann (i 785-1 860), J. J. I. v. Bollinger
(1799-1890), J. G. Droysen (1808-1884), Fr. v. Gentz
(1 764-1 832), Th. Mommsen (18 17-1903), J. v. MuUer
(1752-1809), B. G. Niebuhr (1776-1831), L. v. Ranke
(1 795-1 886), Fr. L. G. v. Raumer (i 781-1873), H. v.
Sybel (1 8 1 7-1 895), H. V. Treitschke (18 34- 1896), — all
of these were famous historians, each in his own way,
during the days of Romanticism and a little later, yet no
one, not even Lamprecht, has traced the evolution of
historiography as brought about by these men and their
less noted contemporaries. Peculiar as this is, it is not
so peculiar as the fact that, despite all the books that
have been written on Romanticism, no one has ever
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GENERAL TREATISES
attempted to write a history of the movement, to trace
it, objectively, through the various stages of its develop-
ment and to point out its most important incidents without
digression or self-intrusion.
The student, therefore, who reads any of the following
works hoping thereby to obtain a clear view of the move-
ment as a whole, will be disappointed. The list is in
itself, however, instructive. Heine, the most difficult in-
dividual to locate, wrote a fascinating monograph for a
foreign people. He did not take his subject seriously;
no one else did then, excepting, possibly, the poets them-
selves. Eichendorff followed him, a quarter of a century
later, with his Catholic propaganda. No one can blame
Eichendorff for his attitude. He was a Catholic himself,
and Romanticism was not Protestant. Then came Haym
with his definitive scholarship. This is just about the
order to be expected. After Haym the dissertations be-
gan to appear. It was, however, another quarter of a
century before Brandes wrote his fascinating book —
Romanticism lends itself well to such treatment. Then
came Huch with her two Romantic studies, and a year
later Spiess thought the movement now justified a chres-
tomathy on popular lines. Gustav Schwab had done the
same thing, years before, in unwieldy proportion. It is
rather difficult to vindicate Joachimi*s work, except that
she wished to explain the Romantic theory and wisely
selected Friedrich Schlegel for this purpose. Kircher
reminds one of an immature Haym with a strong tinge
of Jakob Boehme*s mysticism. Walzel tried to condense
a lot of matter into a little space and incidentally to ex-
plain the origin of Romanticism. Beginners cannot read
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OUTLINE OF GERMAN ROMANTICISM
his book. And Wemaer, rather happily for the last in
the series, tried to draw the moral. The general student
should read Heine first, then Haym by way of contrast,
then Wemaer.
1833. Heinrich Heine: 2)ic Slomantift^C 6(^ulc, Leipzig, 152 pp.
(Written in the last months of 1832, intended originally for
the French, translated, modified and revised until 1836. Elster
gives complete text and variants. Great divergence of opinion
as to merits, especially from the standpoint of Heine's religious
and political attitude. Cynical and clever, sometimes slightly
inaccurate as to details, it remains a valuable pioneer work on
the subject. Predominantly popular.)
1857. Joseph von Eichendorff: ®ef(^ic^tc ber |)oetif(^ctt Siteratur
2)eutfc^IanbS, Paderbom, 262 pp.
(Discusses Romanticism in general and 21 of the main
poets in particular. Written wholly from the Catholic stand-
point and therefore at times prejudiced, but on the whole accu-
rate and always suggestive. Predominantly doctrinal.)
1870. Rudolf Haym : 2)tC tomantifd^C ©d^ulc, Beriin, 951 pp.
(The classic work on German Romanticism. Author devoted
ten years of hard labor and ripe scholarship to its composition.
The exact opposite of Heine's book; his name is not men-
tioned. Indebtedness acknowledged to Gervinus, H. Hettner,
J. Schmidt, and Koberstein, but the work is Ha)rm's. Treats
only the old school: Tieck, Wackenroder, the Schlegels,
Holderlin, Novalis, Schleiermacher, Schelling and Brendel
Dorothea Mendelssohn- Veit-Schlegel, and in this order. Now
rare; the best book on the subject Predominantly genetic.)
1894. Georg Brandes : 2)ie romantifd^c ©(^ulc in 2)cutf(^Iattb, trans-
lated by Adolf Strodtmann, Leipzig, 317 pp.
(One of the most brilliant and suggestive works on German
Romanticism. Written, however, from a questionable point of
view : German Romanticism is compared with Danish Roman-
ticism. Contains some scintillating but untenable generali-
ties. Treats, aside from general topics, Tieck, Holderlin,
the Schlegels, Wackenroder, Hoffmann, Chamisso, Novalis,
Eichendorff, Amim, Brentano, Fichte, Amdt, Jahn, Fouqu^,
Kleist, Werner, Gorres, Gentz, and in this order, with occasional
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GENERAL TREATISES
digressions to their contemporaries in England, France and
Scandinavia. Gives the impression of a series of lectures
rather than of a coherent discussion. Predominantly critical.)
1899. Ricarda Huch : Sliitejeit ber Slomantif, Leipzig, 391 pp.
(A superb study by a romantic writer. Treats Romantic
themes rather than poets : Apollo and Dionysos, philosophy,
religion, life, love, irony, books, the fairy tale, art, death — all
from the standpoint of the German Romanticists. Predomi-
nantly descriptive.)
1902. Ricarda Huch : SluSbrcttung unb SSerfaU ber S^lomantil, Leipzig,
357 PP-
(Slightly inferior to the companion volume, but excellent.
Title not accurate : Romanticism never completely fell. Treats
Romantic themes rather than poets: view of life, science,
numbers, man, animals, careers, CathoHcism, the infinite, physi-
cians, politics. Deals almost exclusively with the Heidelberg
group, as her first volume deals with the Berlin-Jena group.
Contains a bibliography of 132 titles, only 18 of which are on
literature as such. Predominantly descriptive.)
1903. Heinrich Spiess : 2)ic bcutfd^en S^lomantifer, Leipzig and Wien,
246 pp.
(Good general anthology. Contains introduction and notes
and selections from the prose and poetry of A. W. Schlegel,
Fr.Schlegel,Tieck, Novalis, Holderlin, KleJst, Amim, Brentano,
Fouqu^, Chamisso, Eichendorff, Wackenroder, Schleiermacher.
Poetry, 127 pages; prose, 54 pages. Predominantly eclectic.)
1905. Marie Joachimi: 2)ic SBeltanfd^auunQ ber Slomantif, Jena and
Leipzig, 236 pp.
(A good work, but contains little not in Haym. Based
primarily on Friedrich Schlegel. Contains many well-chosen
quotations. Treats the Godhead, the universe, humanity,
poetry, genius and art from the standpoint of the German
Romanticists. Predominantly explanatory.)
1906. Erwin Kircher : ^^ilofopl^ic hex SWomantil, Jena, 294 pp.
(More interesting than valuable. Contains little not in Haym
or Huch. Printed from the literary remains of the author,
who died at the age of twenty-three. Not always clearly ex-
pressed. Contains chapters on life, Hemsterhuys, Fr. Schlegel,
Novalis, Schelling and general topics. Well printed. No
index, no bibliography. Predominantly philosophic.)
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1908. Oskar F. Walzel: JDeutfdJc S^lomantif, Leipzig (**Aus Natur und
Geisteswelt**), i68pp.
(Excellent sketch. Devoted primarily to the Berlin-Jena
group. Attempts to explain the origin of German Romanticism
from the philosophy of German Romanticism. Can be used
much better for review than for introduction. Predominantly
theoretical.)
1 910. Robert M. Wemaer: Romanticism and the Romantic School in
Germany, New York, 191 o.
(An excellent book for the initiated. Deals with the Berlin-
Jena group and tries to see what the members of this group
stood for, and what lessons they can teach us. Resembles the
books by Huch. Contains a bibliography of 1 52 titles and an
index. Predominantly appreciative and didactic.)
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SECTION IV
GENERAL TREATISES ON SPECIAL PHASES
Even a cursory glance at the following list of mono-
graphs will reveal two things : the wide range of topics
that fall under the general head of Romanticism, and the
fact that, though the flourishing time of Romanticism
closed with the year 1815, the movement was not studied
at all seriously until after 1 890. The reason for this late
attempt to adumbrate the invisible, and to tone down and
subdue the glaring in the Romantic universe, lies in the
nature of things ; men need time to think such a move-
ment over ; and then, in course of time, they need themes
on which to think. The reason for the comprehensiveness
of the field lies in the fact that the Romanticists were in-
novators ; they had many notions and were full of ideas.
Some of their suggestions and endeavors were good and
have borne much fruit ; others were dangerous and have
been harmful. But all were interesting and provocative
of suggestion.
The subjoined bibliography might be compared to the
mineralogical collection of the geologist ; it contains speci-
mens of Romantic creations, and from them one can see
where Romanticism tended. There was, for example,
such a thing as Romantic style, and its study has gained
the attention of such men as Hiigli, Petrich and Schiitze.
Women came in for much discussion during this period,
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OUTLINE OF GERMAN ROMANTICISM
and the works of Carriere, Sidgwick, Walzel, Gschwind,
Graf, Deibel and others have gone into the matter, and all
literature — Rationalism, Realism, Romanticism — is now
better understood. Verse and strophe forms, the tech-
nique of the lyric, the epic, the drama were revived and
revised by the Romanticists, and Bartsch, Welti, Minor,
Keiter and Pflaum have investigated this phase of the
period with enduring results. Benz throws bright light
on the fairy tale, Wachtler shows what Poe owed to
German Romanticism, Dreeser tells of the relation of the
author of ** Immensee *' to the movement, Williamson has
corralled the facts concerning Grillparzer's unsympathetic,
when not antagonistic, attitude toward the Romanticists
and their writings. Kirn has set forth Schleiermacher,
the Protestant preacher of the predominantly Catholic
movement, Joel has written a book big with interest on
Nietzsche and Romanticism, and so on. These works in-
vestigate the truth and picture it without embellishment ;
they are valuable.
Though the list is long, there still remains to be written
one work at least : ** Die Asthetik der deutschen Ro-
mantik." In view of the fact that the Romantic move-
ment was so largely an aesthetic one, it is peculiar that a
monograph on this phase of the matter has not been written.
It has received fragmentary treatment in many places ; it has
received definitive treatment nowhere. The Romanticists
themselves wrote, to be sure, on aesthetics ; one needs only
to be reminded of Solger*s magnum opus, of Jean Paul's
'' Vorschule der Asthetik," and of Wilhelm voii Humboldt's
**Ansichten uber Asthetik und Literatur," consisting,
unfortunately, only of his letters written to C. G. Komer.
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GENERAL TREATISES ON SPECIAL PHASES
The work was edited by F. Jonas in 1880. And one
needs only to recall the many scattered commitments on
this subject by the Schlegels, Novalis, Schiller, Wacken-
roder and others. But the works of the Romanticists on
aesthetics, and their general ideas about aesthetics as seen
by the investigator, these are two totally different affairs.
And it is one thing to read Friedrich Bouterwek's ** As-
thetik " (181 5), it is another to determine the fundamental
characteristic of the aesthetics of the poets who lived during
Bouterwek's time. Nor does such a work as G. Neudecker's
**Studien zur Geschichte der deutschen Asthetik seit
Kant" (1878) satisfy the student of literature. In this
work one hears a great deal about Kant, Vischer, Zim-
mermann, Lotze, Kostlin, Siebeck, Fechner, Lange and
Deutinger ; one hears nothing about the same number of
poets, and what they said, sometimes between the lines,
on this subject, a subject, incidentally, that the student
can ill afford to divorce from his first love — the study
of literature.
Of the works here listed, the first and fourth call for
special comment. W. von Blomberg had published in
the Rheinisch'Westphdlischer Anzeiger in 1820 a satire
against Romanticism, in which he drew a sharp line be-
tween Romantic and plastic poetry. Heine, in one of the
very first scientific articles ever written on Romanticism,
denied the existence of any such contrast and tried to
corroborate his thesis by referring to the fact that the two
greatest Romanticists, Goethe and Wilhelm Schlegel, were
both supreme masters of plastic form. In the light of
modem times, one can only smile at the illustration Heine
uses ; but there is sense in what he was driving at, for to
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OUTLINE OF GERMAN ROMANTICISM
contend that none of the creations of the Romanticists is
plastic is nonsense. It is in this same article, that Heine
defends Romanticism from the view held then, and now,
by the unread laity, in the following words : Slber nie unb
nimmermel^r i[t bctSjenige bie toa^re {Romanttf, toa^ fo t)iele
bafur auiggeben; ncimlid^: ein ©emengfel t)on fpanifc^em
©d^metj, fd^otttfd^en '9?ebeln unb italienifd^em OeHinge, t)er^
toorrene unb t)erfd^n)immenbe SBilber, bie gleid^fam au^ einer
3au6erlaterne au^gegoffen toerben unb burd^ bunted garbem
fpiel unb fro^jpante SBeleud^tung feltfam ba^ ®emut erregen
unb ergS^en. As a picture of what German Romanticism,
in its best manifestations, is not, these words of Heine,
though he later nearly took them back, should be kept in
mind by any student of the movement who wishes to find
the wild flowers in this unfenced field.
Ludwig Noack*s book is even more than the title indi-
cates. Schelling lived from 1775 to 1854; his mature
years just about cover the Romantic period, of which he
was tke philosopher. Noack has not only discussed his
philosophy, he has also set forth the many and enduring
and epoch-making scientific discoveries and advances that
made the Romantic century so illustrious. The general
student of literature can hardly be expected to step aside
and read what took place in the chemical, electrical,
medicinal, and physical world from 1766 to 1866. If,
however, he wishes to do special work on a special
phase of the period, he may be obliged to go into this
part of the matter. And if so, he will find Noack a safe
guide and a good, though very serious, friend. To un-
derstand Noack, scientific training is an indispensable
prerequisite.
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GENERAL TREATISES ON SPECIAL PHASES
1820. 2)ic 9lomantif. By Heinrich Heine. Written against W. von
Blomberg, who had maintained that there was a contrast be-
tween Romantic and plastic poetry. 3 pp.
1835. Reflexions sur le romantisme dans la litterature fran9aise, et re-
futation de quelques opinions erron^es auxquelles il a donn^
lieu en Allemagne. By F. E. Boumot, Brandenburg. 31 (large)
pp.
1 84 1. Slc^im t)on Strnim unb bic Slomantif. 2)ie ©iinberobe. By Moriz
Carriere, Griinberg and Leipzig. 44 pp.
1859. ©d^eUing unb bic ¥§iIofo|)l^ic bcr Slomantif. By Ludwig Noack,
Berlin, 2 volumes. 1094 pp.
1864. ^ie neuere 9lomanti! in xf)vem @ntfte^en unb i^te ^ejiel^ungen jut
gtc^tcfc^en ^^ilofo^ie. By J. H. Schlegel, Rastatt. 123 pp.
1873. fi^w ^i« (Sntftc^ung unb (Sntroicfclung bcS ©cfil^lg fiir baS Slo-
mantifc^C in bcr 3latax, By Ludwig Friedlander, Leipzig.
45 PP-
1878. 2)rei ^a|)itcl t)om tomantift^en ©til. By Hermann Petrich, Leip-
zig. 152 pp.
1878. fiber ben Scgriff be« Siomantift^en. By J. H. Schlegel, Wertheim.
36 (large) pp.
1879. ^i^ romantifd^e ©c^ule in ^eutfd^Ianb unb in ^anlreic^. By
Stephan Bom, Heidelberg. 23 pp. An excellent treatise.
1881. 9iomantifer unb germaniftifd^e ©tubien in geibelberg 1804-1808.
By Karl Friedrich Bartsch, Heidelberg. 21 (large) pp.
1883. ©idjenborffd Slnfid^ten iiber romontifd^c ^ocfte m 3ufammen§ange
mit ber ^oftrin ber romantifd^en @4ule. By Richard Dietze,
Leipzig. 70 pp.
1884. ©cfdjic^te beg ©onetteg in ber beutfc^en 2)i(^tung. By Heinrich
Welti, Leipzig. 255 pp.
1889. Caroline Schlegel and her Friends. By Mrs. Alfred Sidgwick,
New York. 255 pp.
1891. Slomantif unb SilaturaUdmud. By Eberhard Kraus, Mitau. 51pp.
1895. ©d^Ieiermat^er unb bie S^lomontif. By Otto Kim, Basel. 40 pp.
1899. 2)ie grii^jeit ber S^lomantif. By S. Lublinski, Berlin. 152 pp.
Volume I in the four volumes of ** Litteratur und Gesellschaft."
1899. ^einridj $eine unb bie beutfc^e Slomantif. By Otto zur Linde,
Freiburg im Breisgau. 219 pp.
1900. Sofep^ ®5rred aid geraudgeber^ Sitteraturl^iftorifer/ Jhritifer im
Sufammen^ange mit ber iiingeren Slomanti!. By Franz Schultz,
Berlin. 48 pp.
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OUTLINE OF GERMAN ROMANTICISM
1900. ^ie romanifc^en @tro|)l^en in bet ^c^tung beutfc^et 9iomanti!er.
By Emil Hiigli, Zurich. 102 pp.
1901. The Influence of India and Persia on the Poetry of Germany.
By Arthur F. J. Remy, New York. 81 pp.
1 901. Slomanti!, ^icutomarttif unb bie graucnfragc. By Oskar F. Wal-
zel. In Archiv fur das Studium der neueren Sprachen und Lit-
Uratur, Volume CVII.
1901. 2)ad StebeSlebcn §5Iberlin8, ScnauS, §cme5. By Oskar Klein-
Hattingen, Berlin. 326 pp.
1902. 9icul^ocl^beutfcl^e aWetrif. By J. Minor, Strassburg. 537 pp.
1903. 2)ic et^ifd^en ^ieuerungen ber gril^^S'lomanti!. By Hermann
Gschwind, Bern. 136 pp.
1903. a^lal^cl aSam^agcn unb bic a^lomantU. By Emma Graf, Berlin.
106 pp.
1904. 3^^tfti^nften ber SWomantif. By O. Fr. Walzel and Heinrich Hub.
Houben, Berlin. 524 (quarto) pp. An invaluable and indispen-
sable collection.
1904. 2)ic ^roblcmc ber Slomantif aI8 ©runbfragcn bcr ©cgcnroatt.
By Oscar Ewald, Berlin. 227 pp.
1904. ^^eoric bed SlomanS unb bet ©tsft^lfunft. By Heinrich Keiter and
Tony Kellen, Essen-Ruhr. 314 pp.
1904. Soffob Soe^me unb bie S^lomantifer. By Edgar Ederheimer, Hei-
delberg. 128 pp.
1904. SBil^elm §einfe unb fein ©influ^ auf bie Siomanti!. By Hans
Nehrkom, Goslar. 85 pp.
1904. Si^ietffd^e unb bie S^lomantil. By Karl Joel, Leipzig. 367 pp.
1904. SBielanbS S^eaie^ungen ju ben beutfd^en Slomantilem. By Ludwig
Hirzel, Bern. 100 pp. In Unterfuc^ungcn jut neucm 6|)ra(^»
unb Siitteratutgefd^id^te, Volume 4.
1904. Romantisme et Protestantisme. By E. Dubedout. 16 pp. In
Modem Philology ^ Volume I, No. i, pp. 1 17-133.
1904. ^f euboromantif : griebric^ ^inb unb bet 2)teSbenet Siebetfteid.
By H. A. Kriiger, Leipzig. 219 pp.
1905. Types of Weltschmerz in German Poetry. By Wilhelm Alfred
Braun, New York. 91 pp. Treats Holderlin, Lenau, Heine.
1905. a)et magifd^e SbealiSmuS. ©tubien jut ¥§iIoto|)§ie beg S'^ooalid.
By Heinrich Simon, Heidelberg. 158 pp.
1905. 2)otot§ea ©d^Iegel alS ©d^tiftfteUetin im Sufammen^ange mit bet
tomantifd^en ©d^ule. By Franz Deibel, Berlin. 188 pp. In
Palaestra^ Volume 40.
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GENERAL TREATISES ON SPECIAL PHASES
1905. SlbalBcrt ©tifter unb bic SWomanti!. By Wilhelm Kosch, Prag.
129 pp. In Prager deutsche Studien,
1905. 9lomantif(^e ©Icmentc bci 2;i^eobor ©tonn. By Willrath Dreeser,
Dortmund. 1 16 pp.
1906. liber bic ®ntn)t(fclung bed tomontifc^en ^unftmiirc^enS. By Her-
mann Todsen, Berlin. 123 pp.
1906. ©tubien jut neu^oc^beutfc^en Segenbertbid^tung. ©in Seitrag %\xx
©efd^i^te beg bcutfd^en ©eifteSIebenS. By Paul Merker, Leip-
zig- 153 PP-
1906. ^ie ©nttoicfelung bed 92atutgefu^(3 in bet beutfd^en Sittetatur bed
neunae^nten So^^^^unbertd. By Siegmar Schultze, Halle. 1 70 pp.
1906. gtiebtic^ 2;ie(f : @in Scitrag jur beutjd^en ^unftgefc^id^te im 3«it=
oXitx ©oet^ed unb bet 9lomanti,{. By Edmund Hildebrandt,
Leipzig. 203 (quarto) pp.
1907. %tt ®influg bet 9%omantif auf bie ^ertiefung bed 92ationa(gefiil^(d.
By Franz Guntram Schultheiss. In ArchivfurKultur-Geschichte^
Volume 5, pp. 55 to 82.
1907. Studies in German Romanticism. By Martin Schiitze, Chicago.
58 pp. Deals with the repetition of words as a means of sus-
pense in the drama under the influence of Romanticism.
1907. De^Icnfci^lSger in feinen |)erfdnlicl^en Seaie^ungen ju ®oetl^e, Xxt^
unb §ebbel. By Albert Sergei, Rostock. 144 pp.
1907. 3w ©efd^id^te bet geibelberger S^lomantif. By Wilhelm Kosch.
10 pp. In Euphorion^ Volume 14.
1907. Jean Paul Friedrich Richter and E. T. A. Hoffmann; a Study in
the Relations of Jean Paul to Romanticism. By Robert Hem-
don Fife, Jr., Cambridge. 32 pp. In Publications' of the Modem
Language Association^ Volume 22.
1908. ^§ilofo|)§if(^e ©trdmungen ber ©cgenroart. By Ludwig Stein,
Stuttgart 452 (large) pp. Read chapter iv, " Die neuroman-
tische Bewegung," 58 pp.
1909. 2)ie ^octi! ber beutjd^en S^lomantifer. By Chr. D. Pflaum, Berlin.
70 pp.
1909. aWfttc^ensJDici^tungberSlomantifcr. By Richard Benz,Gotha. 262pp.
1909. The Romantic Triumph. By T. S. Omond, New York. Read
chapter v, " The Romantic Triumph in Germany," pages 280
to 345-
1910. 2)ie 3cttf(^riften ber Slomantif. By Johannes Bobeth, Leipzig.
431 pp. Discusses the journals mentioned in Walzel and Hou-
ben*s work. An invaluable book.
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OUTLINE OF GERMAN ROMANTICISM
1910. ^ie tomantifd^e Seioegung in bet amerifamfc^en Siteratut. By
Walter Just, Berlin. 90 pp. Treats Brown, Poe, Hawthorne.
19 10. Grillparzer's Attitude toward Romanticism. By Edward John
Williamson, Chicago. 76 pp.
191 1, ebgar Man ^oc unb bic beutft^c Slomantil. By Paul Wachtler,
Leipzig. 109 pp.
191 1. Protestant Thought before Kant By Arthur Cushman M*Giffert,
New York. 261 pp. Though this book treats the period im-
mediately preceding the really Romantic epoch, it is invalu-
able because of the preparation it g^ves for the Romantic
epoch itself; it shows where Romantic theology came from.
It is delightfully written, contains a clear statement of Pietism
and Rationalism, and an elaborate bibliography.
191 1. SWomantifd^e 3lor)tUen, By Josef Nadler, 2 volumes, Regensburg.
Contains good general introduction and notes, and novelettes
from Kleist, Tieck, Hoffmann, Brentano, Eichendorff, Arnim,
Fouque.
191 1. The German Romantic " Marchen." By Robert Hemdon Fife, Jr.
19 pp. In Modem Philology^ Volume IX, No. 2.
191 2. German Poems (1800-1850). Edited by John Scholte Nollen,
Boston. 405 pp. Contains poems from 33 poets of the period,
with sensible introduction and sufficient notes.
191 2. Slomanttfd^e S'^onic unb romantifc^c ^omobic. By M. Pulver,
Freiburg i. B. 36 pp.
191 2. %\t ©ntrotdclung bcS gii^IcnS unb 2)en!cn§ bcr Slomantil ouf
©runb ber romantifd^cn S^ttjd^riftcn. By Alfred Weise, Leip-
zig. 188 pp.
191 2. SuHud ^ofen^ $rofa. ®in ^ettrag jur Siteraturgefc^ic^te ber 9lo^
manti! unb bc3 SwnQ^n 2)eutfc^Ianb. By Werner Mahrhob,
Weimar. 115 pp.
191 3. <3d^(eiermad^er unb ©oet^e. @in ^eitrag jur ©efd^id^te bed beut-
fd^en ©eifted. By H. Scholz, Leipzig. 72 pp.
/
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SECTION V
SECTIONAL TREATISES IN GENERAL HISTORIES
The student of Romanticism should first acquire a work-
ing perspective ; he should first try to see the relation of
the parts of the movement to each other and to the whole,
so that, to quote Lowell on Cromwell, he can *' distinguish
between the blaze of a burning tar-barrel and the final con-
flagration of all things." This broad view can be obtained
by reading any of the following sectional treatises, though
some are naturally much better than others. To begin at
the beginning, Vilmar wrote eine treff Hd^e beutfd^e Siteratur==
gefdiid^te, but his treatment of Romanticism is brief and long
since superseded. Only the serious student, one intend-
ing to do doctoral work, need linger long over Schmidt,
Koberstein, Gervinus and Goedeke, while Hosmer is now
an old model It is with the making of books as with the
making of machinery, in that, other things being equal, the
model of this year is an improvement over that of last year.
For the general student, the year 1900 saw the first
absolutely valuable study of German Romanticism in a
general history. And if Meyer is not entirely satisfactory,
it is only because his book does not reach back into the
eighteenth century. Francke is good because of his sug-
gestive, if not always tenable, theory of the coUectivistic and
the individualistic. Moore is well illustrated and contains
some out-of-the-way facts. If, however, one of these, his
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reference to Redwitz's ** Amaranth/' should lead the student
to look upon this as a bit of Romanticism of real literary
value, it would be a pity. Robertson's first work is full and
will give the student an excellent bird's-eye view of the
whole field, Coar contains good matter on the drama, Vogt
and Koch need no mention, and Goetze has everything.
Wells has some interesting material on Jean Paul; Lam-
precht is wordy and philosophic and yet superficial, no one
human being can control the material that Lamprecht in-
cludes ; Engel is unique in that he approaches the matter
not from the point of view of ** movements," but from that
of individuals who ** moved" and were "moved." To praise
Scherer is to carry diamonds to South Africa ; Priest con-
tains many facts and little discussion ; Thomas, despite his
unsympathetic attitude, gives a sane account of the literary
worth of the movement ; Kummer is the one work that most
nearly makes this outline dispensable. Konig contains illus-
trations and gives plots, Biese's discussions and estimations
are admirable, and Riemann is about the best work for the
beginner to read in German. Of his work he says : 9D?ein
93eftreben ge^t bal^in, bie gro^en ©nttoidelung^Iinien, bie ©r-
toeiterung bei§ ©tofffreife^, bie Ubertoinbung ber SRomantif
unb SBirfIid)teit^fd^eu, fd^arf ^erau^juarbeiten. He has done
it. Robertson's latest work is literary in form, studied in
content, small of size and sympathetic in attitude. The
reading of any one of these works for purposes of general
orientation cannot be too strongly recommended ; to read
any one of them and then quit, believing that thereby a
knowledge of German Romanticism has been acquired, can-
not be condemned too strongly as one of the contagious
afflictions of this age from the academic point of view. To
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SECTIONAL TREATISES IN GENERAL HISTORIES
read, for example, the sixty-three pages of Karl Storck*s
history of German literature that discuss ** Die Romantik,*'
and then to imagine that one knows German Romanticism
would be like crediting one's self with a knowledge of Rome
after having flown over the eternal city in a monoplane.
That would be a rather happy way to orient one's self on
the city of the Caesars. But Thorvaldsen, when asked how
long it would take to become thoroughly acquainted with
Rome, replied, *' I cannot say ; I have been here only
twenty years." A general history of German literature is
only a guide-book ; one must read the lyric and epic and
dramatic works of the Romanticists in order to understand
Romanticism, in order to appreciate the worth and the
worthlessness of the general histories that contain, among
many other things, a brief sketch of the most comprehensive
movement that ever concerned intellectual Germany. One
can lecture about Romanticism, now, without' ever hav-
ing read a line of it ; one can interpret Romanticism only
after reading the Romanticists themselves, and not merely
reading about them. Aside from the general treatises briefly
noted above, some others of a slightly different nature are
subjoined.
1856. A. F. C. Vilmar: ©efd^id^tc bet bcutfd^cn SWationalsSUeratur, Mar-
burg. Pages 660-695.
1867. Julian Schmidt: ©cf^id^tc bcr beutfd^cn Sitcratur feit ScfflngS
3^ob, Leipzig. Vol. 2, complete, 654 pages; Vol. 3, pagesi-316.
1873. August Koberstein : ©cfd^id^te bcr beuttc^cn Sflationallitcratur 00m
StDeitett ^iertel beg 18ten S^^^^^unbertd bid 5U ©oet^ed 2:ob,
Leipzig. Vol. 4, pages 543-955-
1874. G. G. Gervinus : ©efd^id^te ber bcutfd^en 2!)id^tun9, Leipzig. Vol. 5,
pages 631-816.
1879. James K.Hosmer : A Short History of German Literature, St.Louis.
Pages 474-545-
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1887. Ludwig Salomon : ©cfc^id^tc bet bcutjd^cn Sflationallitteratur bed
neunje^nten 3<»§<^§tttt^^3» Stuttgart, 663 (large) pages, illus-
trated. For the complete Romantic movement, read pages i to
403; "Die romantische Schule," pages 58 to 106. Contains
many quotations.
1898. Karl Goedeke: ©runbti^ iux ©efd^id^te bet beutft^en JDid^tung,
Leipzig, Berlin, Dresden. Volume 6.
1900. Richard M. Meyer : 2)ie beutfd^e Sittcratut bed 19ten So^'^^un*
bertd, Berlin. Pages 1-243.
1 90 1. Carl Busse: ©cfd^id^te bet beutfd^en 2)id^hm9 im neunse^nten
Sci^rl^unbett, Beriin, 162 pages; Romanticism, pages i to no.
Covers the ground from Klopstock to Sudermann.
1 901 . Georg Stockhausen : 2)ad beutfc^e 3ci§r§unbert, Berlin, 797 (large)
pages. This is the first volume of an eclectic and synthetic
work on the various intellectual phases of Germany in the
nineteenth century. Stockhausen is the editor ; there are thir-
teen contributors on twelve different topics. C. Busse has a
chapter on the literature, Max Osbom writes on art, J. Duboc
and P. Wiegler on philosophy, A. Berthold on commerce and
law, R Schmitt on history and Leopold Schmidt on music.
Such a work is of great value for the specialist in Romanticism.
1901. Rudolf von Gottschall: 2)ie beutfd^e S'lationaUiteratur bed neun^
Se^ntcn Sa^r^unbertd, Breslau. The most elaborate work on the
century. There are four volumes. Volume I, 670 pages, gives
a good account of the Romantic movement from Wieland to
Immermann; Volume II, pages i to 160, covers the reaction-
ary period. Gottschall was himself a poet of good standing.
He died in 1909. His history, in its composition, goes back to
1855. He is the author of a number of historical, creative
works— "Amy Robsart," " Pitt und Fox," " Katharina Howard."
1901. Kuno Francke: A History of German Literature, New York.
Pages 301-547.
1901. Robert W. Moore: History of German Literature, Hamilton,
N. Y. Pages 192-228.
1902. John G. Robertson; A History of German Literature, London.
Pages 399-543-
1903. John F. Coar: Studies in German Literature in the Nineteenth
Century, New York. Pages 1-225.
1904. Friedrich Vogt and Max Koch : (Sefd^td^te bet beutfd^etl Sitetatut,
Leipzig and Wien. Vol. 2, pages 307-429.
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1905. Edmund Goetze : ©runbri^ iVLV ©cfc^tc^te bet beutfc^en 2)tc^hing,
Leipzig, Dresden, Berlin. Volume 8.
1906. Benj. W. Wells : Modern German Literature, Boston. Pages
290-365.
1907. Karl Lamprecht: 2)eutfc^e ©efc^tc^te, Berlin. Volume 10, Book
24, complete, 539 pp. Pages 3-258 for Romantic literature.
1907. Eduard Engel : <3e\d)\d)tt bcr bcutfc^cn Sitcratur Don ben 2lnfangen
bis in bie ©egcnroart, Leipzig and Wien. Two large volumes.
Volume II, pages 689-828. This is the second edition. The
work, written for bie 92ic^tn)if(enben, contains illustrations and
many quotations.
1908. Wilhelm Scherer: ©efc^ic^te ber beutfc^en Siteratur, Berlin.
Pages 614-720.
1909. George M. Priest : A Brief History of German Literature, New
York. Pages 245-292.
1909. Calvin Thomas: A History of German Literature, New York.
Pages 328-376.
1909. Friedrich Kummer : 2)cutfci^e Sitetatutgefc^ic^te beS 19. 3tt§t§uns
bertg, Dresden. Pages 65-283.
1909. Adolf Bartels: §anb5uc^ 8"*^ ©efc^ic^te ber bcutfc^en Sitcratut,
Leipzig, 859 pages (2d edition). This book, though not critical
and occasionally inaccurate, contains, in brief space, a vast
deal of information. It does not cost much money, and the
student can save much time by using it.
1910. Robert Konig: 2)eutfci^e Siteraturgefc^ic^te, Bielefeld and Leipzig.
Volume 2, pages 128-265.
1910. Otto von Leixner: ©efc^ic^te bet beutfd^en Siteratut, Leipzig.
This edition was prepared by Ernst Friedlander; it contains
numerous illustrations and facsimiles. There are 1098 (large)
pages. Romanticism is discussed from page 558 to page 628.
Leixner treats many small people.
1 910. E. Arnold: 3II«ftnette beutfc^c Siteraturgcfd^ic^te, Berlin, 468
pages. "Die romantische Schule," pages 270 to 314; *' Das
junge Deutschland," pages 319 to 335. Contains many facts;
is uncritical.
1910. Otto Hauser: SBeltgcfc^ic^te ber Siteratur, Leipzig and Wien.
There are two volumes ; the second discusses the Germanic
literatures. German, pages i to 260 ; Romanticism, pages 197
to 221. This is a valuable work from the point of view of
comparative literature.
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191 1. J. G. Robertson: Outlines of the History of German Literature,
New York and Edinburgh, 320 pages. Though entirely re-
written, this is, as the title indicates, a condensation of Robert-
son's larger work of 1902. It contains a good account of
Romanticism, pages 178 to 253, and a good working chrono-
logical list from Wulfila to Nietzsche.
191 2. Alfred Biese: 2)eutfc^e Sitcraturgcfc^ic^tc, MUnchen, 3 volumes.
For Romanticism, read Volume 2, pages 288 to 693, and
Volume 3, pages i to 13.
191 2. Robert Riemann: 2)a3 19. Stt^t^unbcrt ber bcutfc^en Sitcratur,
Leipzig. For Romanticism, read pages i to 338. Riemann lists
Grillparzer with the Romanticists and discusses him from page
113 to page 125. Of Grillparzer, Riemann says: f^otmeU fteUt
fcine 2)ici^tun3 eine SScrf d^melaung von ^laffiaiSmuS unb Sloman*
tif bar, abet m bcr ^f geologic greift cr iiber bcibe ^inauS.
191 3. Karl Storck: 2)eutfc^c Sttctaturgcfc^ic^te, Stuttgart, 623 pages.
This is the seventh edition. Pages 223 to 426 cover the period
from Wieland to Realism ; ** Die Romantik " is discussed from
page 323 to page 386.
1913. J. G. Robertson: The Literature of Germany, New York, 256
pages. Romanticism takes up eighty-seven pages of this work.
No year. Leo Melitz : 2)te X^eatctftiide ber SBcltUtcratur, Berlin and
Leipzig, 820 pages. This book is uncritical, but it is cheap
and intensely useful. It contains, aside from information on
the drama in general, the plots of practically all of the dramas
that have had success on the stage. The student can get from
it a good idea of the contents of any play ; this is sometimes
very helpful. It is a recent publication.
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SECTION VI
LETTERS OF THE MAIN ROMANTICISTS
The practice, indeed the art, of writing letters flourished
in Germany during the days of Romanticism as never be-
fore or since. By concerning themselves, in many instances,
precious little with the precarious politics of the coun-
try that was theirs, the Romanticists found time for corre-
spondence. By laying great stress on the value of friends
and friendship, they found people with whom to correspond.
For an understanding and appreciation of their works their
letters are, therefore, of fundamental importance. There
is, for example, as much Romanticism in the last letter
that Wackenroder wrote to Tieck in 1792 — both were
then nineteen years old — as in any other seven pages
written by any scholar on any phase of the movement
(Holtei, III, 228-236).
The difference between the correspondence of the Berlin-
Jena and the Heidelberg group is instructive. The letters of
the former are sentimental, conventional, and replete with
eighteenth-century formalities and peculiarities. Wacken-
roder writes to Tieck as though he were addressing his
fiancee. A. W. Schlegel's letters are pedantic and didactic.
Those of Novalis do not sound as though they had been
written by a robust, virile man. Schleiermacher's, however,
are more manly and they are, at the same time, so filled
with carefully elaborated ideas that they belong to literature.
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Caroline Schlegel's correspondence shows that the sobriquet
** Madame Luzifer'* was happily applied. Both she and
Dorothea wrote more interestingly than the Schl^gel men.
The younger Romanticists wrote in a more natural,
more graphic style. The letters of Arnim betray the big,
healthy soul that he was. Brentano could become eloquent
in a simple note. Eichendorff *s candid character is delight-
fully exemplified in the few letters we have from his hand.
Kleist*s letters are predominantly didactic. He was naturally
secretive and laid bare his heart rarely and then to his sister
Ulrike. The letters of the Grimms abound in charming
pictures and pleasing folk tones. Korner and Schenk-
endorf wrote letters as they wrote poems. Arndt always
called things by their right names in his ebullient epistles.
Bettiria, however, was the mistress of letter-writing.
COLLECTIONS
SBriefe an Subroig %xed. Selected and edited by Karl von Holtei,
4 volumes in 2, Breslau, 1864. There are 1493 pages in this collection,
a complete list of names, tables of contents, introductions and short
biographical sketches of Tieck's numerous correspondents. It is the
most important single collection of Romantic letters.
©oct^e unb bic Siomantif. By Carl SchUddekopf and Oskar Walzel,
Weimar, 1898. Volumes 13 and 14 of the publications of the "Goethe-
Gesellschaft." The first contains Goethe's correspondence with the
Schlegels, Schelling, Steffens and Tieck. The second that with Z. Wer-
ner, A. H. Miiller, Kleist, Brentano, Arnim, Bettina, the Grimms,
Fouque, Chamisso, Immermann, Platen, Heine, Eichendorff. There
are introductions, notes, indices, etc. It is the second most important
single collection of Romantic letters. 781 pp.
2)tc SWciftcr bc3 bcutfc^cn S3ricfc3. By Theodor Klaiber and Otto
Lyon, Leipzig and Bielefeld, 1901. 529 pp. The book covers the period
from the sixteenth century to modem times. The rise of letter-writing
is discussed and specimens are given from the important writers. Pages
247 to 361 concern especially the student of Romanticism.
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9luS ©(^(ciertnad^erg Scben in Srtcfen. Three volumes, Berlin, 1860-
1861, second edition. It would be difficult to overestimate the value of
this collection. The first volume, 407 pages, covers the period from
Schleiermacher's childhood to his appointment at Halle in 1804. It
contains Schleiermacher's autobiography, written in 1794, and letters to
Henriette Herz, E. von Willich, Eleonore G(runow), Henriette von
Muhlenfels, his immediate relatives and others. The second volume,
513 pages, covers the period from 1804 to his marriage in 1809 and
contains letters to and from E. M. Arndt, Schleiermacher's wife, Grafin
Luise von Voss and others. The third volume, 437 pages, covers the
period from 1809 on and is of great value because of the letters
to and from the Schlegels.
2luS bcm 9iac^laf|c SSam^agenS Don @nfe. Leipzig, 1865. Contains
letters from Stagemann, Metternich, Heine, Bettina. 407 pp.
Sean ^aul3 S3lattcr bet SScrcl^rung. S3ricfn)cc^f el mit grofeen 3W(lnncm.
Edited by E. J. Forster, Munchen, 1865. 347 pp.
Xf^taieV'^xie^t Don ©oetl^e unb freunbfc^afHi^c SBricfc Don Sean ?aul.
Berlin, 1835. 166 pp.
SloDaUg S3ricfn)ec^fe( mit gricbrid^, Sluguft SBil^elm, S^arlotte unb
©aroUnc ©d^lcgcl. Edited by J. M. Raich, Mainz, 1880. 192 pp.
griebrid^ ©c^legcL Sriefc an feincn S3rubcr Sluguft SBill^elm ©c^Iegel.
Edited by O. F. Walzel, Berlin, 1890. 680 pp.
2)orot^ca von ©c^lcgelg Sriefroedjfcl. Edited by J. M. Raich, Mainz,
188 1. 904 pp.
So^ann Valentin ^cid^mannS litcrarifd^cr ^a6)la^. Edited by Franz
Dingelstedt, Stuttgart, 1863. 466 pp. Contains 112 letters by Iffland,
Schiller, Beyme, Goethe, Bruhl, Kleist, A. W. Schlegel, Tieck, Z. Wer-
ner, Kotzebue, P. A. Wolff.
©lemcng 33rcntano3 gcfammelte Sriefe (1795-1842). Frankfurt am
Main, 1855. Two volumes, indexed.
©Icmcng 33rcntano§ grii^linggfranj, in Sricfcn, i^m gcfloc^tcn, nie ev
fclbft ed fc^riftlic^ ocrlangte. Edited by Paul Ernst, Leipzig, 1907. Two
volumes. Fantastic letters. 423 (small) pp.
Sricfe an Scan ^aul unb befjen (Sattin. Edited by Paul Nerrlich,
Berlin, 1882. 189 pp.
griebrid^ §5(bcrlinS Siehtn in S3ncfen Don unb an ^blbcrlin. Edited
by K. K. T. Litzmann, Berlin, 1890. 684 pp.
gouqu^, Slpel, 3Wiltit. ^eitragc aur ©efd^ic^te bcr bcutf c^cn Sflomantif.
Edited by Otto Eduard Schmidt, Leipzig, 1908. 220 pp. Contains 1 2 illus-
trations. A valuable collection,since such contributions onFouqu^ are rare.
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9lu3 e^amiffoS ^u^itxt Un^ebruclte Sriefe. Edited by Ludwig Gei-
ger, Berlin, 1905. 278 pp.
2)er 93riefn)ed^fel beg ©rafen Sluguft Don platen. Edited by Ludwig
von Scheffler and Paul Bornstein, Miinchen, 191 1. 544 pp.
^^cater=93nefe Don ^arl Sttimermann. Edited by Gustav zu Putlltz,
Berlin, 1851. 144 pp.
(gbuarb 3Wdnfc3 Sriefroedjfel. Edited by Karl Fischer and Rudolf
Krauss, Berlin, 1903-1904. Two volumes in i. 709 pp.
Sad^anag SBernerg 93riefe an Caroline von §umbolbt. Albert von
Leitzmann, in Euphorion^ 1909. Volume 16, pages 93-100, 425-434.
S3riefe ^^oxk grei^crm S^fep^ Don ©ic^enborff. In the 12th volume of
Eichendorffs works, edited by Kosch and Sauer, Regensburg. Indexed.
351 PP-
93riefe an gifci^crtn 3ofep§ oon ©ic^cnborff. In the 13th volume of
Eichendoi^'s works, edited by Kosch and Sauer, Regensburg. Indexed.
390 pp.
Sriefroed^fel groifc^en 3ofcp§ fjret^ertn Don Sagber^ unb Subroig
U^lanb. Edited by Franz Pfeiffer, Wien, 1870. 342 pp.
gricbrid^ Sliidert unb 3ofep§ ^opp (1837-1842). Edited by Friedrich
Reuter, Altona, 1895. 4^ PP-
^^^ilologifc^eS'' auS gdebric^ SflilcIertS SBricfen an 3. &• &artung.
By Fr. Hartung, Magdeburg, 1888. 25 pp.
^einric^ §etne8 Sriefe an feinen greunb 2Kofeg SWofcr. Leipzig, 1862.
232 pp.
^einesSdefe. Edited by Hans Daffis, Berlin, 1907. Two volumes.
§cinnclj Don ^leiftg Seben unb Sricfe. By Eduard von Billow, Berlin,
1848. 286 pp.
§einnc^ Don ^Icift: Sriefe an feinc ©c^rocftcr Ulrife. Edited by
August Koberstein, Berlin, i860. 164 pp.
§einnci^ Don ^leift: Sriefe an fcine Sraut. Edited by Karl Bieder-
mann, Breslau, 1884. 250 pp.
§ctnnc^ oon ^leift in feinen SBriefen. By Roderich Markentin, Hei-
delberg, 1900. 47 pp.
^cinrid^ Don JlleiftS 2Betfe. The Minde-Pouet, Steig, Schmidt (Bib-
liographisches Institut) edition. Volume 5, contains the necessary letters.
509 pp. They can also be found in the Eloesser (369 pages), Herzog,
and Muncker (Cotta) editions.
2)otot^ea unb gdebrid^ ©d^legel. S3nefe an bie gamilie ^auluS.
Edited by R. linger, Berlin, 1913. 192 pp.
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SECTION VII
THE ROMANTIC MAGAZINES
The beginning of every new movement, practical or
aesthetic, necessitates the establishment of an official
organ through which its aims and accomplishments can
be made known. In this way subscribers are secured
and informed. The Athendum was the first and fore-
most magazine of German Romanticism, first chrono-
logically and foremost because of its maturity from the
beginning; it was full-grown in the first issue. This
being the case, it is reasonable to suppose that it was pre-
ceded by other magazines sufficiently similar to make its
pretentious d^but possible, sufficiently dissimilar to make
the establishment of other magazines necessary. The
Athendum had, in fact, nine important predecessors.
In 1789 August Wilhelm Schlegel wrote a pungent
and trenchant review of Goethe's " Torquato Tasso '* for
the Gdttingische gelehrte Anzeigen, In 1790 he fol-
lowed it up with one on " Faust, ein Fragment.'* In 1791
he reviewed some of Schiller's poems. His life at Gottin-
gen brought him into contact with Burger, for whose Aka-
demie der schonen Redekunste he wrote in 1 79 1 an article
entitled fiber bei8 S)ante Stligl^ieri gSttlid^e S!om6&ie, an arti-
cle which, in some respects, may be looked upon as the
first sally in the Romantic campaign. It was the first of the
important invasions into the Romanic field, many of which
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were to follow. And it was owing to a review of Schiller's
" Kiinstler " in the same magazine that caused Schiller, as
early as 1 795, to express the wish that Schlegel might come
to Jena. He went. Soon he was writing for the third
of these pre-Athenaum magazines — Schiller's Horen,
Inspired by Schiller's " Uber naive und sentimentalische
Dichtung," Schlegel wrote for the Horen his article en-
titled Sriefe iiber ^oefic, ©itbenmafe unb ©prad^e. In the
same journal he discussed Dante again, but what is vastly
more important, he turned his attention to the North, to
Shakespeare, and made the pioneer contention that Shake-
speare should be translated into the original metre and gave
some specimens from ' ' Romeo and J uliet, " * ' The Tempest ' '
and ** Julius Caesar." And Fichte, who had been living
in Jena since 1794, wrote an article for the Horen on
the significant subject Uber Selebung unb @rl)6^ung be§
reinen Sntereffe^ fiir 9Sa(jr()cit. Sophie Mereau likewise
contributed. She wrote entertainingly on " Nathan der
Weise," Boccaccio and so on. Then came Schiller's
Musenalmanach, a journal for poetry, also contributed
to by Sophie Mereau and August Wilhelm Schlegel.
Schiller at once recognized in Schlegel the critic rather
than the creator and introduced him accordingly to the
most important of these nine magazines, the Allgemeine
Literattirzeitung of Jena. It was established in 1785 by
Christian Gottfried Schiitz and was continued until 1848.
Philosophically it leaned toward Kant. During the three
years of his affiliation with this magazine Schlegel wrote
approximately three hundred articles for it. Two of the
most important are his review of Voss's translation of
Homer (1796) and his discussion of Goethe's '* Hermann
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THE ROMANTIC MAGAZINES
und Dorothea" (1797). A break with the policy of this
journal was inevitable. It soon came.
In the meantime the other Romanticists were browsing
in Rationalistic fields. About 1795 the followers of the En-
lightenment were only too glad to get Friedrich Schlegel's
articles on Greek literature. To Biester's Monatsschrift
he sent in 1794 his essays on 9Son ben ©d^ulen ber gried^i^
fcf)en ^jJoefie and 9Som aftf)etifd)en SBerte ber gried^ifd^en S!o^
mobie. In the same year he published in the Monatsschrift
fur Damen in Leipzig his Uber bie S)arfteIIung ber tueib-
Iicf)en Sl^araftere in ben gried^ifcf)en ©id^tern. In course of
time Friedrich Schlegel became an out-and-out Romanti-
cist, and when he sought for admission to the journals for
which his brother was writing it was refused him. The
break between Classicism and Rationalism on the one
hand and Romanticism on the other needs now but a
slight touch and it will be complete. By way of getting
even, Friedrich Schlegel began to write for Reichardt's
Deutscklandy a journal that also had a grudge against
the others. Here Friedrich Schlegel published his SSerfud^
fiber ben 93egriff be^ SRepublifant^mu^ and showed himself
an open defender of woman suffrage and cosmopolitanism,
one of the main tenets of old Romanticism. And in the
same journal appeared his attack on Schiller's **Wurde
der Frauen." The gap becomes wider. In 1796 appeared
one of the best criticisms he ever wrote, and one of great
importance for the proper appreciation of the Romantic
theory, — his review of Jacobi's **Woldemar." But he
had not yet completely broken away from his studies in
Greek; his Uber bie l^omerifd^e ^jJoefie was also sent in.
It is possible, however, that the most significant article
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OUTLINE OF GERMAN ROMANTICISM
published in the Deutschland\^^& the one by Wackenroder
— the only time Wackenroder wrote for a magazine — en-
titled Sfjrengebad^tni^ unfereiS el^rtDurbigen Sll^nl^errn SKbred^t
2)ureri^ (1796). It revealed at once the love for Mediae-
valism and Old German art that was to play such a large
r61e in later Romanticism.
Reichardt had trouble, however, with the critics by rea-
son of his Deutschlandy so he let it die. He then called
into being a purely aesthetic magazine, Das Lyceum der
schonen Kiinste. Contributions from Romanticists were
welcomed. Eriedrich Schlegel sent in his excellent criti-
cism of Forster. It was published (1797). Then came his
attempts to wrest Lessing from the charge of belonging to
the Enlightenment. He criticised " Emilia Galotti " as an
example in dramatic algebra, ** Nathan der Weise " as the
work of a poet with a great soul.
Then there was Tieck. He was now writing for the
Archiv der Zeit und ihres Geschmackes. It was a Ration-
alistic journal, but Tieck was running in a goodly number
of Romantic ideas. Bemhardi, Tieck's teacher, was writing
for the same journal, criticising the theatrical situation in
Berlin and attacking Kotzebue and Iffland. Tieck attacked
Lafontaine and praised Goethe and Schiller. The Roman-
tic side of this Rationalistic journal began to predominate.
And finally the time came when the Romanticists had
to have their own organ. Friedrich Schlegel had attacked
Schiller in ihtDeutschlandy Schiller had ridiculed Friedrich
Schlegel in the **Xenien." Goethe and Schiller were now
fast friends, and they had great weight with the policy of
the Allgemeine Literaturzeitung. And this journal, aside
from what had already happened, could have nothing
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THE ROMANTIC MAGAZINES
to do with the author of " Lucinde/' Also, it still leaned
toward Kant, with whom the Romanticists had now broken.
They lauded Fichte. And A. W. Schlegel could also find
no satisfaction with the editors of the most important jour-
nal of the day. So they broke away from it, one and all,
and forever. The Schlegels and Schelling and Tieck in
his ** Das jiingste Gericht" made fun of the only journal
worthy of their services. The Romanticists had to have
an official organ of their own. In the course of their
career they established no fewer than twenty-five separate
magazines, as follows :
Slt^enfium (i 798-1800), Berlin. Edited by A. W. and Fr. Schlegel.
Chief contributors : the Schlegels, Novalis, Schleiermacher, Hiilsen.
^oetifd^cS Soumal (1800), Jena. Edited by Tieck. Chief contribu-
tors : Tieck, F. Majer, Friedrich Schlegel.
3!Htxnmnon (1800), Leipzig. Edited by August Klingemann. Chief
contributors : August Winkelmann, Clemens Brentano.
^^nofargeg (1802), Berlin. Edited by A. F. Bemhardi. Chief con-
tributors : Sophie Bernhardi, Friedrich Schlegel.
©uropa (1803-1805), Frankfurt am Main. Edited by Friedrich Schle-
gel. Chief contributors: Karl von Hardenberg, Dorothea Schlegel,
J. G. Schweighauser, A. W. Schlegel, Friedrich Ast, Helmina von Ch^zy.
^ol^djorba (1803-1805), Penig. Edited by August Bode. Chief con-
tributors : F. Majer, Kanneg^esser, F. A. Kuhn, Seckendorf.
^^o5uS (1808), Dresden. Edited by Heinrich von Kleist and Adam
H. Miiller. Chief contributors : the editors, Fouqu^, Oehlenschlager,
Wetzel, O. H. von Loeben.
^romct^euS (1808), Wien. Edited by L. von Seckendorf and J. L.
StoU. Chief contributors : A. W. Schlegel, J. H. Voss, Z. Werner.
3eitung ftir ®infiebler (1808), Heidelberg. Edited by Achim von
Arnim. Chief contributors : Friedrich Schlegel, Jean Paul, Brentano,
Gorres, Uhland, Christian Schlosser, Fouqu^. (Published in book form
in 1808 under the title " Trost Einsamkeit.")
^ant^eon (1810), Leipzig. Edited by J. G. Busching and K. L. Kanne-
giesser. Chief contributors : G. W. Kessler,Raumer, J. Winkelmann, Hen-
riette Schubart, Friedrich Wollank, Romer, Von der Hagen, C. Salfeld.
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S3erltner 2l5cnb5lattcr (1810-1811), Berlin. Edited by Heinrich von
Kleist. Chief contributors; Adam Miiller, Kleist, Amim, Friedrich
Schulz, Fouque, Von Mollendorff, J. E. Hitzig.
^ic So^rc^scitcn (1811-1814), Beriin. Edited by Fouque. Chief
contributor: Fouque.
2)CUtfc^eg aWufcum (1812-1813), Wien. Edited by Friedrich Schlegel.
Chief contributors : August von Steigentesch, M. Claudius, Friedrich
Miiller, A. W. Schlegel, Caroline Fouque, H. W. von Gerstenberg,
Ernst Platner.
©alina (1812, 1816), Halle. Edited by A. G. Eberhard, A. Lafon-
taine, et al. Chief contributors : the editors.
2)ic 2Kufcn (1812-1814), Berlin. Edited by Fouqu<? and Wilhelm Neu-
mann. Chief contributors : F. S. von Grunenthal, Fr. Riihs, the editors.
SQBintcrsSKonatc (1814-1815), Leipzig. Edited, possibly, by G. J.
Goschen. Chief contributors : obscure writers.
S)ic §arfc (1815-1819), Leipzig. Edited by Friedrich Kind. Chief
contributors : Caroline Fouque, Friedrich Kind, Fouqu^, F. A. Schulze,
Luise Brachmann, Streckfuss, Friedrich Kuhn.
2)ie ^efpcribcn (181 6), Leipzig. Edited by Otto Heinrich, Graf von
Loeben. Chief contributors : Helmina von Chezy, Von der Malsburg,
Eichendorff, Schenkendorf, J. Kerner.
3iirmii6ige©tunbcn(i8i6-i82i),Jena. Edited by Fouqu^. Chief con-
tributors : Caroline Fouque, J. C. Hohnbaum, C. Hohnbaum, C. W. Justi,
A. Lafontaine, G. Reinbeck, Freimund Reimar, Fr. Sickler, K. E. Schmid.
SBiinfc^clrut^e (1818), Gottingen. Edited by H. Straube and J. P.
von Hornthal. Chief contributors : Loeben, F. W. Carove, W. Grimm,
Arnim, Wilhelm Miiller.
2)ie 2Korgent5tl^c ( 1 8 1 9, 1 82 1 ), Elberfeld. Edited by August Gebauer.
Chief contributors : Luise Brachmann, Helmina von Chezy, Fouque,
Caroline Fouqu^, Franz Horn, Loeben, Fanny Tamow.
©oncorbia (1820-1823), Wien. Edited by Friedrich Schlegel. Chief
contributors : Franz Baader, Adam Miiller, Z. Werner, Bucholtz.
3!)ic 3Wufe (182 1 -1 82 2), Leipzig. Edited by Friedrich Kind. Chief
contributors : Arthur von Nordstern, Eduard Gehe, Von Lichtenstein.
Drpl^cuS (1824-1825), Niirnberg. Edited by Carl Weichselbaumer.
Chief contributors: Eduard Schenk, W. von Schiitz, L. Auerbacher,
Max von Freiberg.
SBcrltmfc^c I31(ittcr fiir bcutfdje %taum (1829-1830), Berlin. Edited
by Fouqu^. Chief contributors : Arnim, Fr. Kind, Ludwig Robert, Karl
von Holtei, Heinrich Schmidt.
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SECTION VIII
FOLLOWERS OF THE BERLIN-JENA GROUP
The literary founders of the Berlin-Jena Romantic
School, which lasted as a ** school'* only from 1798 to
1 86 1, or 1804, were Tieck, Wackenroder, Novalis and
the Schlegels. The other and less important founders were
Friedrich Ernst Daniel Schleiermacher (1768- 18 34), the
preacher and the author of ** Vertraute Brief e iiber Lucinde '*
(1800), ** Monologen " (1800), *' Reden uber die Religion "
(1799) — ^^ made a profound impression on his contem-
poraries by insisting that religion is not solely a matter
of morality and metaphysics but of the soul, a finding of
the infinite within us; Caroline Michaelis Bohmer Schlegel
Schelling (1763- 1809), who influenced without writing;
Veronika (Brendel) Dorothea Mendelssohn Veit Schlegel
(i 763-1 839), the mother of the painter, Philipp Veit, and
the author of the fragmentary novel " Florentin" (1801);
Friedrich Wilhelm Joseph Schelling (1775-1854), the
nature philosopher, who is discussed in Section X ; Henrik
Steffens (i 773-1 845), the Scandinavian, in a sense the
understudy of Schelling, and the author of "Was ich
erlebte" (1844) ; Lorenz Ockenfuss (Oken) (1779-1851),
the brilliant transcendentalist and naturalist, the scientist
who stood midway between Fichte and Schelling, the
author of "Lehrbuch der Naturphilosophie " (181 1) and
''Lehrbuch der Naturgeschichte '* (1827); Adam Karl
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August Eschenmayer (1768-1852), the distinguished phy-
sician, who agreed with Schelling except as to our knowledge
of the absolute, a believer in animal magnetism, the author
of " Religionsphilosophie *' (18 14); August Ferdinand
Bernhardi (1770- 1820), Tieck's friend; Sophie Tieck
(1775-1833), Tieck's sister and the wife of A. F. Bern-
hardi ; Johann Wilhelm Ritter (i 776-1 8 10), the physicist ;
August Ludwig Hiilsen (1765-1810), who wrote, among
other things, an article for the Athendum entitled fiber
bie natiirlidie ®Ieid^f)eit ber 2)?en[cf)en.
Aside from these founders of the old school there were
a number of distinguished men and women who had an
enormous influence on the movement and were in turn
influenced by it without ever becoming an integral part of
it. Of these the most important were Friedrich Wilhelm
Christian Karl Ferdinand von Humboldt (1767-183 5),
linguist, statesman, minister of education, public-spirited
citizen, author of " Uber die Kawisprache auf der Insel
Jawa " (1840), the introduction to which, on the difference
in the construction of language and its influence on the
intellectual development of the human race, has been pub-
lished separately ; Friedrich Wilhelm Heinrich Alexander
von Humboldt (i 769-1 859), younger and more famous than
his brother, the greatest natural scientist of all times, a man
of tremendous intellect, the author of ** Kosmos" (1858) ;
Abraham Gottlob Werner (1750-18 17), the founder of
scientific geology, the propounder of the Neptunian theory,
the teacher of Novalis at Freiberg, the author of ** Neue
Theorie iiber die Entstehung der Gange ' ' ( 1 79 1 ) ; Friedrich
von Gentz (i 764-1 832), a publicist of repute, a man of
brilliant if dissipated talents, a man who advised kings and
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always won the favor of royalty, the author of '* Fragmente
aus der neuesten Geschichte des politischen Gleichge-
wichts" (1804) and ** Maria Stuart"; Johann Friedrich
Reichardt (175 2- 181 4), one of the most interesting men
of his time, a musician of some importance, a man who
did much to bring the Romanticists together by frequent
entertainments in a social way, now known only by his
musical compositions ; Karl Wilhelm Ferdinand Solger
(1780-18 19), the aesthetician of the movement, the author
of " Vorlesungen iiber die Asthetik" (181 1) and " Erwin"
(181S).
And of the women, there were Dorothea Tieck (1799-
184 1), Tieck's gifted daughter, who did much of the trans-
lation that has been published under his name ; Henriette
Herz (i 764-1 847), the friend of Schleiermacher and Borne,
the woman who presided over one of the most brilliant
salons of Berlin in the days of Romanticism ; Rahel Antonie
Friederike Robert Levin von Ense, the gifted wife of
Vamhagen von Ense, in some ways the original woman
suffragist, a woman who lived Romanticism.
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SECTION IX
FOLLOWERS OF THE HEIDELBERG GROUP
That the Romantic movement in Germany was vastly
more than a literary affair is better shown by the long list
of distinguished names associated more or less directly with
the Heidelberg group and the side lights than by those
connected with the Berlin-Jena group. Of these the most
important were Jakob Ludwig^Karl Grimm^ ( 1 78 5-1 863),
philologist, mytfioIogTsV^ disciple of Savigny, founder of
scientific Germanic philology, author of Grimm's law per-
taining to the relative correspondence of consonants ; he
wrote **Uber den altdeutschen Meistergesang " (181 1),
"Deutsche Grammatik" (1822), still the fundamental work
in Germanic philology, ** Deutsche Mythologie** (1835),
** Geschichte der deutschen Sprache " ( 1 848), and began the
famous *' Grimms Worterbuch'* in 1854, a work which he
thought could be finished during his lifetime, but which
is still unfinished; KarlJWilh elm Grim in (i786-i8t;Q),
the less distinguished but more poetic brother, author of
*' Altdanische Heldenlieder '* (181 3), ** Deutsche Helden-
sage" (1829); the Grimms also collected, edited and
published the famous * * Kinder- und Hausmarchen " ( 1 8 1 2-
15), next to ** Des Knaben Wunderhom " one of the most
important achievements of German Romanticism ; Johann
J pseph von Gorre §^(i776-i848), professor at Heidelberg,
first to lecture in Germany on Asiatic languages, coeditor
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FOLLOWERS OF THE HEIDELBERG GROUP
of ** Trost Einsamkeit,'* the man whom Napoleon called
la cinquUme puissance because of his political power, the
father of Guido Gorres, a staunch Catholic, publisher of
the **Teutsche Volksbiicher '* (1807), supporter in his
youth of French revolutionary principles, editor of the
Rheinischer Merkur (18 14-16), author of ** Christliche
Mystik" (1836-42) and *' Athanasius '* (1837); Georg
Friedrich Creuzer (1771-1858), philologist, archaeologist,
for nearly forty-five years professor of philology and ancient
history at Heidelberg, founder of the philological seminary
at Heidelberg (1807), author of ** Symbolik und Mythologie
der alten Volker, besonders der Griechen " (18 12), a work
that was attacked by J. H. Voss in his **Antisymbolik**;
Gotthilf H^inrich Schubert^ (1780-1860), naturalist and
mystic, pupil of A. G. Werner, author of ** Ansichten von
der Nachtseite der Naturwissenschaften" (1808), '* Symbo-
lik des Traumes " (1814), " Geschichte der Seele " (1830) ;
Karl Konrad Friedrich Wilhelm Lachmann (1793-185 1),
philologist, critic, expanded the works of the Grimms,
d isinte rred Germany's old literature, translated Shake-
speare's sonnets (1820), ** Macbeth" (1829), author of
** Ursprungliche Gestalt des Gedichts der Nibelunge Not "
(1 8 1 6); Adam Heinrich Miiller^ (1779-1 829), publicist,
Protestant turned Catholic (1805), defended as did Gentz
the policies of Metternich, associated with Kleist in Dres-
den, student of political economy ; Franz Xaver von Baader
(1765-1841), philosopher, theologian, pupil of A. G.
Werner, scholastic mystic, acquainted with F, H. Jacobi,
studied by Schelling, influenced by Jakob Boehme, Eck-
hart, Saint-Martin, one of the greatest speculative theo-
logians of modem Catholicism ; Karl August Vamhagen
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von Ense (1785-1858), prose writer, soldier, diplomat,
author of ** Goethe in den Zeugnissen der Mitlebenden "
(1824), ** Tagebucher " ; Sulpiz Boi sser6e_ (i 783-1854),
the greater of the two brothers, architect and archaeolo-
gist, made a famous collection of Old German art now to
be found at Miinchen and Numberg, head, with his
brother, of what might be called the Koln Romantic
School; Melchior Boisser6e (1786-185 1), assisted his
brother in collecting Old German art and discovered the
method of painting on glass with a single pencil ; Franz
Anton Me smer (1733-1815.), physician, originator of. the
theory of mesmerism or animal magnetism, author of
" Sendschreiben an einen auswartigen Arzt uber die
Magnetkur ** (1775) ; Friedrich Karl vonSayignv (i779-
1861), student of Roman law, founder of modem histori-
cal jurisprudence, author of ** Geschichte des romischen
Rechts im Mittelalter" (1815) ; Karl Gustav Cams (1789-
1869), physiologist, psychologist, first to lecture on com-
parative anatomy, in sympathy with the teachings of
Schelling, author of ** Lebenserinnemngen und Denk-
wurdigkeiten " ; Clemens Wenzel Lothar Mettemich-
Winneburg (i 773-1 859), Austrian statesman, diplomatist,
one of the smoothest men of his day, the moral, civic,
political dictator* of Germany and Austria from 181 5 to
1848, the man who checked the progress of united Ger-
many by years, wrote eight volumes of memoirs ; Barthold
Georg N Jebuhr (1776-183 1), a Dane, professor of Roman
history at Berlin, the man who first favored the method of
supplying missing links in documentary evidence by taking
material from ballad literature, author of ** Lebensnach-
richten" (1838); Friedrich Ludwig Georg von Raumer
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(i 78 i-i 873), teacher and statesman, author of '' Geschichte
der Hohenstaufen und ihrer Zeit " (1825), '' Die Vereinig-
ten Staaten von Nordamerika'* (1845) ; Friedrich Wilhelm
Carov^ (1789-1852), philosopher, publicist, one of the
founders of the SBurfd^enfd^aft, author of tracts on religious
subjects from the Catholic point of view ; Otto Heinrich,
Graf von Loeben (1786-182 5), visionary, author of " Blat-
ter aus dem Reisebiichlein eines andachtigen Pilgers"
(1808) and many briefer works ; Raimund Pissin's "Otto
Heinrich, Graf von Loeben (Isidorus Orientalis). Sein
Leben und seine Werke,*' Berlin, 1905, 325 pp., is an
excellent treatise ; though an unpretentious poet, Loeben
was a journalist of importance and his relation to Romanti-
cism was intimate and influential ; Caroline von Giinderode
(1780- 1 806), took her own life in 1806 because of an
unhappy love affair with G. F. Creuzer, wrote, under the
pseudonym Tian, ** Gedichte und Phantasien" (1804),
'*Poetische Fragmente" (1805).
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SECTION X
THE PHILOSOPHERS
There is no doubt but that the nineteenth century began
philosophically. It is equally certain that during the entire
period of systematic Romanticism philosophy was, in a
double sense, in the air. When Bulwer-L)^on referred to
the German people as a nation of thinkers, he unquestion-
ably had this period in mind. Modem philosophy, whether
we date it from Descartes (1596-1650) or Spinoza (1632-
1677), is fundamentally nature philosophy. That is to say,
modern philosophy has attempted a mathematical explana-
tion of the external world ; it has asked a great number of
questions about the interrelations of men and animals and
plants. Each philosopher has answered the questions as
he saw the light, and each has seen the light reflected
at a different angle. And finally, it is certain that Kant
was the controlling figure in modern philosophy at the be-
ginning of the century as he was at the close, and Kant
was unromantic.
There are consequently a number of reasons why it is
fatally easy for the master of Romanticism to impress his
disciples too strongly with the importance of contemporane-
ous philosophy. In the first place, with a few exceptions —
Novalis, Fr.Schlegel, Kleist, Holderlin — the main poets of
Romanticism were not nearly so philosophically inclined
and trained as we are at first blush apt to believe. Brentano
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THE PHILOSOPHERS
left the room when anyone began to discuss " adversity's
sweet milk, philosophy." Heine, though he wrote a sort
of book on Romantic philosophy, and Hoffmann sought
neither long nor successfully after the unattainable stone.
Tieck, ber SJonig ber SRomanti!, to quote Hebbel, had
assimilated and unconsciously formulated his romantic-
philosophic view of nature before he knew Schelling,
Amim and Chamisso, to judge from their poetic commit-
ments, looked, with Goldsmith, on philosophy as a " good
horse in the stable, but an arrant jade on a journey." There
is no systematic philosophy in the poems of Eichendorff or
Wilhelm Miiller or Morike. '' Undine," '' Taugenichts,"
** Schlemihl," all the purple patches of Romanticism are
unphilosophic. The theory of Romanticism was more or
less tinged with philosophy, the practice was devoid of it.
And again, German philosophy is exceedingly difficult.
The student of literature who can read and grasp Kant's
transcendental idealism, or Fichte's science of knowledge,
or Hegel's phenomenology of intellect, is already such a
master of discussion that he should change his major sub-
ject from letters to metaphysic s. If there is any one place
where students of literature can b e strongly advised to read
*^Bboutthe subject rather than the subject itself^ it is in con-
nection with Ger nian pEiTosophy. He will get more out of
Hoffding than he will out of Hegel.
And finally, without being paradoxical while seeming so,
that is a wise man, who, in his study of German Romanti-
cism, can fly into the face of the relativity of all things and
determine with race-track accuracy just where philosophy
stops and literature begins, or the other way around. What
is philosophy anyhow ? Is it anything more than unartistic,
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OUTLINE OF GERMAN ROMANTICISM
unfinished ** literature *' ? Is it anything more than a visu-
alization and reflection of life with the ** faithful " and
** artistic ** elements left out ? The line between Romantic
poetry and Romantic philosophy is an imaginary one, de-
termined by taste and intellectual temperament, — some
people look upon SBeltanfd^auung as ^pfiilofopfiie, though
there is a wide difference, — varying with different indi-
viduals and different in succeeding decades. And where
the student, after time-consuming search, finds a similarity
between the effusions of the wise and those of the fanciful,
he will do better to assimilate the latter than to annotate
and correlate the former. He will do best to follow with
cautious hesitation and mental reservation the lead of
Landor's ** Dying Old Philosopher,'* who departed from
this life with these words :
" I strove with none, for none was worth my strife ;
Nature I loved ; and, next to Nature, Art.
I warmed both hands against the fire of life ;
It sinks, and I am ready to depart"
The following are the Romantic philosophers, arranged
in order of birth. The list embraces a century of philoso-
phy, starting with Kant, who was not Romantic, and closing
with Strauss, who belonged to a new age.
Immanuel Kant (1724- 1804), Germany's first great, and
greatest, philosopher, was the Imperator of the Romantic
movement. His most active and immediate opponents were
Hamann, Herder, F. H. Jacobi and S. Maimon. It was
he who first gave dignity to the term '* philosopher." Six
large influences converged in Kant's day: (i) Pietism,
(2) Sentimentalism, (3) empirical psychology of Locke,
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THE PHILOSOPHERS
(4) Rationalism of Leibnitz-Wolff, (5) Newton's rigorism,
(6) .Romantic subjectivity and intuition. From Kant on,
even before, German philosophy has been scholastic, mystic,
cosmic. In his two main ** Critiques,*' Kant tried (1781)
to establish the province of certain human knowledge, and
to prove (1788) that the ideas of God, human liberty and
immortality are postulates of practical reason. He is best
known for his formulation of the '' categorical imperative."
One of his best known remarks is : Qtvd ©inge erfiillen ba^
®emut mit immer neuer unb june^menber SBetDunberung unb
Sf)rf urd^t : J)er beftirnte §immel fiber mir imb ba^ morali*
fc^e ©efeg in mir. Herder said of Kant : ^eine ^abalt, !eine
@efte, fein 9SorurteiI, !ein S^amen^efirgeis l^atte je fur if)n ben
minbeften SReis gegen bie (£rn)eiterung unb Sluff)eIIung ber
SBal^rl^eit. His influence was greateston Schiller and Kleist.
Johann Gottlieb Fichte (1762-1814) was the moraUst
of the movement. Influenced, it might be said, personally
by Lessing, Rousseau, Pestalozzi, the Romantic writers
and his wife, Johanna Rahn, he derived his philosophical
stimulus from Spinoza and Kant. His philosophy has been
described as ** Spinoza in terms of Kant.'* That he made
the eg-o the centre of all was pleasing to the Romantic
writers ; that he barred nature from his system was equally
displeasing to them, Holderiin, in ** Empedokles," even
going so far as to make defection from nature a tragic
theme. Fichte's call to duty, his statement that there can
be no reality independent of us, that the morally free e^o
is the central principle of life, appealed not only to the
mystic but also to the humanitarian side of the German
people of that time. It encouraged them to be told that
their environment was only apparently an independent
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OUTLINE OF GERMAN ROMANTICISM
existence beyond their control, that it was not static, that
they could rethink it and make it dynamic.
Friedrich Ernst Daniel Schleiermacher (1768- 1834)
was the preacher of the movement and not a systematic
philosopher at all. His influence was greatest on Fr.
Schlegel. He attacked most effectively the Rationalism
that had supplanted religion, and pointed out that religion
was not a matter of precept, morality, law, intellectuality,
command, but a seeing, feeling and perceiving of the in-
finite in one's soul. Aside from his translation of Plato,
Germany owes him much for what he did to inspire the
people after Prussia's collapse ; the religious awakening at
the beginning of the nineteenth century goes back to his
preaching, and Protestant theology rests on his teaching.
Georg Wilhelm Friedrich Hegel (i 770-1 831) was the
systematizer of the movement. His erudition, his inter-
pretation of facts, the at least apparent orthodoxy of his
philosophy, and his application of Kant's doctrine to evo-
lution make him the representative of Kant to-day. He
really comes after Schelling, uniting, as he did, Fichte's
subjective idealism with Schelling's objective idealism and
forming a system of absolute idealism. One of the most
fruitful thinkers that ever lived, he tried to explain, in a
comprehensive philosophic system, the interrelation and
irreparable continuity of the entire world in all of its
phenomena, religion, art and politics included, by declaring
all of these phenomena to be nothing more nor less than
the revelations of one absolute spirit. He was not exactly
a Romantic philosopher, and yet his energetic opposition to
superficial Rationalism, the inspiration he drew from reli-
gion, and the poetic, mystic strain in his very intellectual
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THE PHILOSOPHERS
make-up — all these are Romantic. He influenced Holder-
lin, and Goethe bowed before him. He made consistent use
of the theory of thesis, antithesis, synthesis. His philos-
ophy was neither Mysticism nor Realism, but Idealism.
Friedrich Wilhelm Schelling (1775-1854) was the
mystic nature-philosopher, the philosopher of the move-
ment. With Fichte and Hegel he forms the inseparable
triumvirate. Schelling was a sort of very modem Spinoza,
and, somewhat like Kant, he believed all nature to be dy-
namic, matter lowest, then vegetable higher, animal high-
est; at least nothing is dead. His theory Jhat neither Mind
nor Nature is nhsHiiit^j W\ that the Jqrrnexjs invisible
na ture and the latter vi sible mind^ found many poetizations
by the Romantic writers. He came at an opportune time,
just when vitalism was taking the place of mathematics,
when Spinoza was supplanting Galileo. Schelling stated
in philosophy what Goethe stated in poetry. He was also a
poet of some merit, though he did not write, as was be-
lieved until quite recently, that peculiar novel ** Nacht-
wachen. Von Bonaventura," this having been written by
F. G. Wetzel (1779-1819), a friend of G. H. Schubert
and his circle of Romantic occultists. His two best known
works are ** Die letzten Worte des Pfarrers zu Drottning
auf Seeland" (1802), the theme of which he owed to his
friend and understudy, Steffens, and *' Epikurische Glau-
bensbekenntnis Heinz Widerporstens," in doggerel, after
the manner of Hans Sachs and Goethe. It shows, among
other things, the poet-philosopher's attitude toward nature.
Jakob Friedrich Fries (1773-1843) was the psycholo-
gist of the movement, Johann Friedrich Herbart (1776-
1841) its realist. The influences on Herbart were Kant and
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OUTLINE OF GERMAN ROMANTICISM
Leibnitz and negatively the Idealists. He claimed to have
disclosed the psychological grounds of the Kantian doc-
trine. Arthur Schopenhauer (1788 -i860) was its intui-
tionist. While Herbart was a Realist, Schopenhauer was
a Mystic, yet both their theories had the same source.
Schopenhauer was to Idealism what Mephistopheles was
to Faust — he turned Romanticism into pessimism. A
number of his shorter essays, by reason of their attractive
style and even more attractive contents, can be classed as
real literature. Friedrich Eduard Beneke ( 1 798- 1854) was
its empiricist, Ludwig Andreas Feuerbach (1804- 187 2) its
religionist. Feuerbach was more radical than Strauss, since
he was a philosopher, not simply a theologian. He brought
anthropology into theology, asserting that the essential
nature of all gods is human nature — they ar^ simply the pro-
jection of the best in us. God did not create man after His
own image, but man made^God after hi s own image. And
T)avid Friedrich Strauss (1808-1874) was the theologian of
the movement. His book on the life of Christ called forth a
controversy such as a nation witnesses only at long intervals.
These are the eleven main philosophers of German
Romanticism. Of these, Fichte and Schelling and Hegel
are by all odds the most important. In the study of litera-
ture, one should remember Fr. Riickert's lines from " Die
Weisheit des Brahmanen " :
S)u benfeft, rt)a§ bu benfft, ba§ miiffe brum fo fein ;
S)od^ benfe : S)enfeft bu benn auf bet SSett aHein ?
SSiel anbre benfen ^\x6), t)tel anbre§ benfen fie,
S)od^ anber§ rt)irb bag ©etn burdE) anber§ Senfen nie.
@§ la^t ftd^ fo unb fo t)on unferm 2)enfen faffen,
aSteibt rt)a§ e§ ift, unb fie^t bent (Spiete ju gelaffen.
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THE PHILOSOPHERS
GENERAL TREATISES
The Spirit of Modern Philosophy. By Josiah Royce, Boston and
New York, 1892. 519 pp. Read especially chapter vi, "The Roman-
tic School of Philosophy," pages 164 to 189. Possibly the very best
place to get a succinct idea of the subject.
A History of Modern Philosophy. By Harald Hofiding, London,
1900. Volume II, 600 pp. Translated by 'B. E. Meyer. Read especially
Book VIII, " The Philosophy of Romanticism," pages 139 to 289.
History of Modern Philosophy. By Richard Falckenberg, New York,
1897 (2d edition).- 655 pp. Translated by A. C. Armstrong. Read
especially chapters x to xiv, pages 419 to 547.
A History of Philosophy. By Wilhelm Windelband, New York,
1898. 659 pp. Translated by James H. Tufts. Read especially Part VI,
pages 529 to 622.
The Persistent Problems of Philosophy. By Mary Whiton Calkins,
New York, 1908 (2d edition), 575 pp. Read especially chapters ix and
X, pages 307 to 394.
A Beginners* History of Philosophy. By Herbert Ernest Cushman,
Boston, 191 1. Volume II, 377 pp. Read especially chapters xi and xii,
pages 278 to 351.
^ie ^i^ilofop^te m beutfd^en ©eifteSleben beS 19. Sa^r^unbcttS. By
Wilhelm Windelband, Tubingen, 1909. 120 pp.
READING LIST
Kant
1766. %xaume cincS ©ciftcrfe^crg, crlautcrt burd^ %xaume ber SKctas
VW^I 49 PP-
1 781. ^ritif b.cr rcincn SScmunft, 252 pp.
1788. ^rttif bcr praftifd^en SScrnunft, 163 pp.
1790. ^ritif bcr Urt^cilgfraft, 322 pp.
Fichte
1792. SScrfud^ einer ^ritt! allcr Dffenbarung, 182 pp.
1 794. ©inigc SSorlcf ungcn iiber bie SBcftimmung beg ® clc^ttcn, 338 pp.
1794- ©tunblagc ber gefammten SCiflenfd^aftSlci^rc, 108 pp.
1800. ^ic SBcftimmung beg 3Kenfcl^cn, 338 pp.
1801. griebrid^ Sflicolatg Seben unb fonberbare SWeinungen, 130 pp.
(Not philosophy, but valuable.)
1806. 2)ie ©runbjilgc bc3 gegenroartigen S^italterS, 563 pp.
1808. Sleben an bie beutfc^e 5iation, 268 pp. Edited with introduc-
tion by Rudolf Eucken, 1909.
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OUTLINE OF GERMAN ROMANTICISM
Schleiermacher
1 799. ttber bie SteUgion ; 9{eben an bie ©ebilbeten untet i^ren $er(ic^«
tcm, 228 pp.
1800. SWonologcn, 100 pp.
1800. SScrttautc ©ricfc iiber bie Sucinbc, 128 pp.
Hegel
1807. ^^ftnomenologic bc8 ©ciftcS, 823 pp.
181 2. SBiflcntd^aft bet Sogif, 1030 pp.
Schelling
1799. (grftcr ©ntwurf cincS ©gftcmS bet ^iaturp^Uofop^ic, 269 pp.
1800. @9ftcm bc8 tranfccnbentalcn SbcaliSmuS, 308 pp.
Fries
1807. ^d^ted unb @cl^eQingd neuefte Se^ren oon ®ott unb bet SBelt,
80 pp.
181 1. ©9ftcm bet Sogil, 596 pp.
1 81 3. (SntTOurf bc8 ©^fterng ber t^corctifd^en ?5^9fif, 138 pp.
Herbart
1808. 2lUgcmcinc praftifd^c ^^ilofop^ic, 430 pp.
Schopenhauer
1819. 2)ic SBelt a(3 SCiUc unb aSotftcUung, 487 PP-
Beneke
1832. ^ant unb bie p^ilofop^ifd^e Slufgabe unferer 3«it, 104 pp.
1853. Se^rbud^ ber ptagmatifd^en ^f^c^ologie, 180 pp.
Feuerbach
1841. 2)a3 SBefen beS g^riftentumS, 425 pp.
Strauss
1835. 2)ag Seben 3cfu, 633 pp.
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SECTION XI
THE MUSICIANS
The services of Romanticism have proved greater than
its creations ; it was more suggestive than productive.
Its immediate harvest was, in proportion to the labor
expended, not large, but amply large for fertile seed.
Others have reaped where the Romanticists sowed. From
the aftermath there sprang a new conception and apprecia-
tion not simply of religion and of nature and of patriotism,
but also of music. The new musicians were born after the
poets — just as the Italian sonata came after the sonetto.
There were, of course, German musicians that preceded
those whom we call the Romanticists, just as there were
poets that preceded Tieck and Novalis and their congenial
brothers in Apollo. There was, for example, Johann Rudolf
Zumsteeg (i 760-1 802), Schiller's fellow-student at Stutt-
gart, who wrote such ©ingfpiele as " Die Geisterinsel " and
who set to music the songs and ballads of Goethe and
Schiller, and Burger's ** Lenore," thus anticipating Schu-
bert and Lowe. There was Mozart (1756-1791), who
bears somewhat the same relation to Romantic music that
Wieland bears to Romantic literature. And there was
Beethoven (1770-1827), the Goethe of music, beginning
the new century with his first symphony. But to reckon
these and others of their time among the Romantic com-
posers would be to disregard conventional and convenient
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OUTLINE OF GERMAN ROMANTICISM
limits and to set awry all conception of Romantic solidarity.
They indubitably inspired some of the statements of the
Romanticists about music, but the really Romantic com-
posers were to come later.
There was a musical leaning and approach, however,
long before the composers began to write music — the
most Romantic of all the arts. Jean Paul tried to explain
the essence of Romanticism from music by saying: @^
[ba^ SBefen] ift nod^ a^nlic^er aU ein ®letcl^nt§, luenn man
ia^ SRomantifc^e baig iDogenbe ?lu§fuminen etner ©aite ober
©lode nennt, in tuelc^em bie Sionmoge tvk in immer ferneren
SBeiten t)erfd^n)immt unb enblid^ fic^ t)erliert in un^ felber nnb,
o6n)o]^I anfeen fd^on ftiK, nod^ innen lautet. In his comedy
** Die verkehrte Welt," Tieck tried to compose a symphony
in words. Friedrich Schlegel said : S)urc^ alle Xbnt tonet
im bunten (£rbentraume ein leifer 3;on, gejogen fiir ben, ber
l^eimlid^ laufd^et. Friedrich Schlegel and others spoke of
architecture as frozen music, to Novalis all science was
based on rhythm, Eichendorff spoke of the song that
slumbers in all things and only needs to be awakened,
and E. T. A. Hoffmann's commitments on music are so
numerous as to forbid choice.
And then came the Romantic composers. To point out
the essential differences between their musical technique
and that of their predecessors, between that of J. S. Bach
and that of Schubert, for example, is in no wise either the
purpose or the duty of this section of the outline, though
there were differences, all of which are carefully and fully
attended to in the appended bibliography. And the Roman-
tic men of letters as composers, or the Romantic composers
as men of letters, can be dismissed in a single sentence :
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THE MUSICIANS
E. T. A. Hoffmann composed a good deal of music, and
Weber and Schumann wrote some ''literature." But all
the musicians drew first and foremost on the literature
of Romanticism for thematic suggestion and inspiration.
And in so doing they did two things that make them stand
apart from those who had gone before : Weber and others
established the German Dper, Schubert and others estab-
lished the German Sieb, a twofold accomplishment that
constitutes one of the brightest chapters in the history of
Romanticism, a twofold achievement that makes the com-
plete disappearance of Romanticism an impossibility and
an inconceivability. Romantic poetry will survive so long
as men and the children of men continue to sing and to
love song. And men will forsake song only when verse
has lost its rhythm, the sea its tide, and the spheres their
harmony.
Convention and tradition, safe guides in this matter,
have set aside twelve men as the Romantic composers.
Of these, Kreutzer, Spohr, Silcher, Marschner, Nicolai
and Lortzing are the less important half, though no lover
of music would like to be without them. Weber, Lowe,
Schubert, Schumann, Mendelssohn and Franz are the
more important half ; no lover of music could be without
them. Richard Wagner is not included. To include him
would be like trying to include Grillparzer among the
Romantic men of letters. For this each was too great,
each went too nearly his own way, each reminds one too
much of Classicism. Yet Wagner had many things in
common with the Romanticists. His themes, with the
single exception of *'Rienzi,*' reecho the Middle Ages.
His connection with the Schlegels, Novalis, Tieck and
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OUTLINE OF GERMAN ROMANTICISM
Hoffmann needs no accentuation. His moods of exalta-
tion, during which he created, and his moods of depres-
sion, during which he could do nothing, remind one of
Tieck, indeed of any Romanticist. But he was not a
Romanticist — if for no other reason, because he lived for
the future ; there was no attempt at the revivification of a
Golden Age about either him or his works. He lacked
irony too, just as he was no friend of vague speculation,
or diffusive digression, or formless architecture. Even in
his "Tannhauser" there is something rigidly clear that
does not resemble Novalis' ** Ofterdingen,** just as there
is something logically concise in his ** Parsifal " that
bears but little similarity to Wolfram's epic breadth and
opaque wording. One thing, however, should not be
forgotten : Wagner was the product, the result of German
Romanticism.
And of the Romantic composers again, Spohr, Marsch-
ner, Nicolai, Weber and Lortzing are well known for
their dramatic compositions, the others for their lyric ones.
Silcher, except for his popularization of Heine's ** Lorelei,"
is of subordinate merit. The lyric compositions are of
greatest importance in the literary study of Romanticism,
not only because so much more was done along this line
but also because of its eminent superiority. Just as a
drama is written for the stage, so is a real lyric written
for the lyre, in a sense the first of all musical instruments.
Schubert alone set to music about six hundred different
songs written by eighty-five different poets. Lowe was the
master of the ballad. Weber composed about one hundred
songs; Marschner, though we think of him primarily in
connection with the opera, about three hundred ; Schumann,
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THE MUSICIANS
one hundred and thirty-eight in the year 1 840 alone ; Spohr,
about one hundred and fifty all told. Such figures show
that the student of Romanticism has not finished his task,
has not enjoyed his opportunity, until he has heard the
poets* words in their proper setting and with their intended
accompaniment. Some of the songs and operas of Roman-
tic origin follow ; the list is intended only as a series of
samples ; there would be no point in attempting to make
it complete ; it contains, however, the best known. But
no such outline would be piously written which made no
mention of E. T. A. Hoffmann *s opera '* Undine,** based
on Fouqu6*s story of like name. Its present relegation to
the shelves of the antiquarian forbids, unfortunately, its
inclusion in the appended list.
BIBLIOGRAPHY
The History of Music. By Waldo Selden Pratt, New York, 191 1
(fourth edition). 683 pages. Read pages 41 1 to 598. An excellent work,
containing brief biographical sketches of the many composers, directors
and performers, an account of the mechanical development of musical
instruments, a discussion of the various musical forms, and an analysis of
the various musical tendencies from the earliest times to the present.
The Study of the History of Music. By Edward Dickinson, New
York, 1906. 409 pages. Read pages 185 to 242.
Pronouncing Dictionary of Musical Terms. By H. A. Clarke, Phila-
delphia, 1896. 122 pages. A good manual for the lay student. Contains
descriptive analyses of all musical terms as well as brief data of practi-
cally all musicians. Very cheap.
The Oxford Book of German Verse. Edited by H. G. Fiedler with
a perfunctory introduction by Gerhart Hauptmann, Oxford, 191 1. 596
pages. Contains 536 poems and gives the names of the most important
composers in all cases. Ninety-four composers are listed, aside from
folk melodies.
Beethoven and his Forerunners. By Daniel Gregory Mason, New
York, 1904. 352 pp.
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OUTLINE OF GERMAN ROMANTICISM
The Romantic Composers. By Daniel Gregory Mason, New York,
1906. 353 PP-
From Grieg to Brahms. By Daniel Gregory Mason, New York, 1903.
225 pp. For the average student unacquainted with German these three
books are excellent. They are written in a racy style, contain sympa-
thetic accounts of the various composers, good essays on music in
general and how to appreciate it. They do not, however, go very far
into the literary themes on which the musicians drew.
2)ic Sliitejeit ber mufifalifc^cn SRomantif in 3)eutfc^(anb. By Edgar
Istel, Leipzig, -1909. 167 pp. For the student acquainted with German
this is the best book here listed. It is Volume 239 of " Aus Natur und
Geisteswelt," and contains all that the general student can ever need for
his study of Romantic literature.
Makers of Music. By R. Farquharson Sharp, New York, 1901. 237
pages. Discusses nineteen composers, from J. S. Bach to Brahms, and
gives brief chronological summaries of their compositions.
Songs and Song Writers. By Henry T. Finck, New York, 1902 (sec-
ond edition). 254 pages. Read pages 22 to 174.
2Wufifgefc^ic^tc feit S3eginn bcS 19. Sa^r^unbcrtS. By Karl Grunsky,
Leipzig, 1908. 123 pp.
©efc^ic^tc ber mu\xt feit Seet^ooen (1800-1900). By Hugo Riemann,
Berlin, 1901. 816 pages. Read pages 106 to 356. A depressingly
thorough book.
2)ag Dpernbuc^. By Karl Storck, Stuttgart, 191 3. 436 pp.
Grove's Dictionary of Music and Musicians. Edited by J. A. Fuller
Maitland, New York, 19 10. There are 5 volumes, each consisting of about
800 pages ; the set is arranged in alphabetical order and is therefore
the standard reference work.
The Oxford History of Music. Volume VI, "The Romantic Period,"
edited by Edward Dannreuther and W. H. Hadow, Oxford, 1905. 374
pages. Exceedingly valuable for the Romantic period, for the special
student.
The History of German Song. By Louis C. Elson, Boston, 1903.
288 pp.
3wr aWetap^^fif ber 2Wufif. By Arthur Schopenhauer. Pages 51 1-523
in the third volume of Schopenhauer's " Sammtliche Werke," Leipzig,
1877 (second edition).
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THE MUSICIANS
ROMANTIC THEMES COMPOSED
(Composers arranged chronologically)
Konradin Kreutzer (i 780-1 849)
2)aS ^iad^tlagcr in ©ranaba, romantic opera in 2 acts, after Friedrich
Kind's drama of like name, libretto by K. Freiherr von Braun.
Incidental music to Raiifiund's " Der Verschwender."
Set to music Uhland's 2)ic ^apcflc; ©d^afcrS ©onntagSlieb ; 2)aS
©d^loj am 2Wecr; 2)cr@c^mieb; SWorgenlicb; ©infc^r; ^cimfc^r;
grill^UngSal^nung ; gcii^lingSfcicr; 2)cg ^nabcn Scrglieb; grcic
^unft; 3)eS ©tingerS giuc^.
Ludwig Spohr (i 784-1 859)
3cf|onba, romantic opera in 3 acts, after the novel " The Widow of
Malabar," libretto by Eduard Gehe.
Karl Maria von Weber (i 786-1826)
3)cr greifc^iitf, romantic opera in 3 acts, libretto by Friedrich Kind.
©ana bcutfc^ unb im bcftcn ©innc beg SBortcS romantifd^.
©ur^ant^e, romantic opera in 3 acts, libretto by Helmina von
Chezy.
Dberon, romantic opera in 3 acts, German libretto by Theodor Hell
(Theodor Winkler).
Incidental music to Pius Alexander Wolff's " Preciosa."
Set to music Theodor Korner's 2Bir (iegen je^t im ©ottcSl^auS;
SJatcr, ic^ rufc bic^ ; 3)ic 2Bunbc brcnnt. Composed also music for
songs by Tieck, Herder, Biirger and Voss.
Friedrich Silcher (i 789-1 860)
Set to music Dach's Snnc^en oon X^arau ; folk song, SWorgcn mu^ id^
fortt)Onl^icr; Chamisso's3)cr ©olbat; Heine's Sorclei; Morike's
2)ic ©olbatcnbraut; Reinick's 2Bo^in mtt bcr grcub'.
Heinrich Marschner (i 795-1 861)
§onS ^citing, romantic opera in 3 acts, with a prelude, libretto by
Ph. Ed. Devrient.
2)er SSampir, romantic opera in 2 acts, libretto by W. A. Wohl-
briick.
2)er Xempln unb bic Siibin, romantic opera in 3 acts, after Scott's
" Ivanhoe," libretto by W. A. Wohlbruck.
Composed music for songs by Goethe, Heine, Eichendorff, Lenau,
Bodenstedt, Geibel, Fallersleben, Uhland, W. Miiller.
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OUTLINE OF GERMAN ROMANTICISM
Karl Lowe (i 796-1 869)
Set to music :
Goethe's 2Wctnc ffluf^ ift ^in ; 2Banbrcr8 Slad^tlieb ; 2)er giWer ; ®ef ang
bcr ©eiftcr iibcr ben SBaffcrn; (Sclfdnig; 2)cr ©anger; 2)er ©c^a^*
graber; ^er 3<tuber(e^rUng ; Steb bed S^tttmerd; ©pritc^e (24);
2)cr gctteue ©dart.
Herder's (Srlfdmgg ^^oc^ter; ®buarb. *
Riickert's 5l(einer §ouS^oU; ©iijed SegrftbniS; §in!enbe Satnl^cn;
2)c8 fremben ^nbed ^eil'gcr g^rtft; D fti^e 3Wuttct.
Uhland's®olbfcl^miebg2:o(i^ter(ein; ^aralb; @raf @bevftein.
Freiligrath's 2)cr SWo^rcnfurft; 2)ic aWo^renfiltftin; 2)er ©lumen
Slad^c; ^rina ®ugen, ber eble fHitttt.
Strachwitz's 2)er gefangenc Slbmiral.
Platen's 3)cr pilgrim t)or @t. 3ufl.
A. Griin's 2)tc Seid^e ju ©t. 3uft; 2)ie Sleigetbeige.
Schiller's 3)er ®raf t)on §ab3burg.
Uhland's 2)er SBtrtin Xd^terlein.
Zedlitz's ^ie nad^tUd^e ^eerfd^au.
Heine's §cra, mein^eta, fei nidjt bcJlommen; 2)er SlSro; 2)te SotoS=
blume ; ^u f c^bned ^ifd^evmabd^en.
(Kopisch's 2)er S'lbd; 2)ie §etn5clmannd^cn.)
(Fontane's Slrc^ibalb 3)ouglaS.)
Franz Schubert (i 797-1 828)
Set to music (a selection) :
Goethe's (Srlfbnig; 2Wetne 3lul^ ift ^in; ©d^fiferS illagelieb; BT^eeved-
fttUe; ^eibenrbStetn; Sanbrerd ^ad^tlteb; SiQ!ommen unb 316^
fc^ieb; S)er ^bntg in X^ule; {^eubpoU unb (eibt)oQ; Sdgerd
Slbenblieb; SRaftlofe Stebe ; ^nbenSWonb; 2)ergtfd^er; (SJefongber
©etfter iiber ben SBafletn; ©rengen ber 3Kcnfd^^ett; 2)er ©finger;
aWtgnonS Sieber (2); Sicb beg §arfner8; S'lft^e beS ©eliebten; 2)er
©d^a^grcibcr.
Schiller's Sin bie greube; 2)o3 SKSbd^en auS ber %tem\>t; ^offnung;
2)ie (Srroartung ; ©e^nfud^t; 2)er pilgrim.
A.W. Schlegel's^benbltebfiirbteentfernte; SebenSmelobien ; 2)ie
gefangenen ©finger.
Fr. Schlegel's 3)er ©d^metterling ; 2)er SBanberer; 2lbenbrbt^e; 2)ie
Slofe; SBalbeSnac^t; 2)tc Serge; 2)er ©d^iffer.
Fouque's 3)er ©d^dfer unb ber Sleiter; ®ebet.
Fr. Kind's §(tnfling3 SicbeSrocrbung.
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THE MUSICIANS
Platen's 2)ic Sicbc ^ot gclogen.
Th. Korner's 2)ad war id^; ®ebct tod^ccnb hex ©d^lod^t.
L. Rellstab's ^uf bcm ©trom.
E. Schulze*s ©wigc Sicbc; 3m 2Balbc.
F. L. Stolberg*s 2luf bem SBaffcr 8U fingcn.
C. Pichler's 2)cr Ungliitflic^c.
Ruckert's 2)a^ fic §tcr gctocfcn; ©rcifcngcf ang ; 2)u bift bic 9lu^.
Heine's 3)u fd^bncS gifc^crmabd^cn; 2)aS 2Rcer erglanste.
W. Muller's SBanbcrf c^aft ; 2Bo§in; &alt; Ungebulb; 2Rctn; 2)ic
^oft; 2)er Sinbcnbaum.
Uhland's grii^linggglaubc.
Novalis' SBcnn aUc untrcu tocrbcn; SBcnn id^ i^n nur f^abe.
Composed also music for a great many songs by poets of less re-
nown: Pyrker, Collin, Craigher, Schbber, Leitner, Bauernfeld,
Seidl, Mayerhofer, and for a few by the greatest of Austrian poets,
Grillparzer.
Otto Nicolai (i8 10-1849)
2)tc lufttgcn 2Bcibcr 8U SBinbfor, comic-fantastic opera in 3 acts,
after Shakespeare's drama of like name, libretto by H. S. Mosenthal.
Robert Schumann (i 810-1856)
©enooeoa, romantic opera in 4 acts, after Hebbel's drama of like
name more than after that of Maler Miiller, Raupach or Tieck ;
libretto by Reinick, then revised by Schumann himself.
His ^l^antaftcftudc and ^rciSlcriana are based on works by E. T. A.
Hoffmann.
Set to music (a selection) :
Heine's S3clf a^or ; 2)tc Slofc, bic Siltc, bie ^aubc, bic ©onnc ; 3c^
grollc nid^t; ®in Sii^Q^ng Ucbt cin 2Rabd^cn; 2)u bift toic eine
Slumc; ®S trcibt mid^ ^in; 3d^ toanbclte unter ben Sftumen;
©d^onc2BicgemcinerSciben; TOtHK^rt^cn unb dio\tn; 2)ic SotoSs
blume; ^m tounbcrfc^oncn Tlonai 3Wai; 2luS mcincn X^rfincn
fpric^cn; SBcnn ic^ in bcinc Slugcn fe^'; 2)aS ift cin glotcn unb
©cigen; 3^^ ^^b' im Xraumc gcroeinet; ^Qndd^tlid^ im Xraumc;
3)ic altcn, bofen Siebcr ; 2)ie bciben ©renabicre ; 2)cin Slngcfic^t ;
SBir fagcn am gifdjcr^aufc ; 2lu3 altcn HMfird^cn winft eS.
Eichendorff's 2)ein Silbnig munbcrfclig; 2Wonbnad^t; @d^5ne
greubc; 3" bcr grembe; grii^UngSnac^t; SBe^mut; 3)ie ©tille;
2)cr fro^c SBanbcrSmann; 3d^ ^or' bic S3ac^(cin roujc^en; 3)cr
®infteblcr; SBalbgefprad^ ; 2ruf ben Xob cincS ^inbcS.
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OUTLINE OF GERMAN ROMANTICISM
Karl Lowe (i 796-1869)
Set to music :
Goethe's aWcine 3lu^ ift ^in ; 2Banbrcr8 Slad^tlieb ; 2)cr gif d^cr ; (
bcr ©ciftcr iibcr ben aBaflcrn; (grlfdntQ; 2)er ©ongcr; Xex
gtabcr; 2)er Sauberlc^rling ; Sicb bed %iXtmev^; ©priic
a)er getreuc (Sdart.
Herder's ©rKdrnQg Xod^tcr; ®buarb. '
Riickert's Kleiner §ouS§olt; ©u^ed ScgrSbniS; §in!enb(
2)cg fremben mnbcS ^eirgcr g^rtft; D Jii^e aWuttcr.
Uhland's®olbfclJmicbS2:dc^terlctn; §orolb; (^raf ^berft
Freiligrath's 2)cr 3Kol^rcnfurft; 3)ie aKo^rcnfilrftin ; ?
Stad^c; ^rina (Sugcn, bcr eble Sflttter.
Strachwitz's 2)cr gcfangcnc SlbmiraL
Platen's 2)cr pilgrim t)OC ©t. 3ufl.
A. Grun's 2)ic Scid^e ju ©t. 3uft; 2)ie Slcigcrbcigc.
Schiller's 2)cr ®rof t)on ^obSburg.
Uhland's 2)cr SBirttn Xbc^tcrlein.
Zedlitz's 2)tc nad^tlid^e §ecrfd^au.
Heine's ^crj, tnein §cr8f ^< «<^* beJlommcn; 2)cr ^
blumc; 2)u f clones gtfc^crmobc^cn.
(Kopisch's 2)cr 3'l5d; 2)tc ^einjelmonnd^cn.)
(Fontane's Slrd^tbalb 2)ouglaS.)
Franz Schubert (1797-1828)
Set to music (a selection) :
Goethe's (Srlfomg; SWeinc 9lu^ ift ^in; ©d^afe
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OUTLINE OF GERMAN ROMANTICISM
Chamisso's ^ertat^ene Siebe; @eit id^ i^n gefe^en; ®t, bet ^ertUd^fte
t)on aUcn; ^^ fann'S nid^t faflcn, nid^t glaubcn; 2)u 3ling on
metnem finger; @u^er ^^eunb, bu bUdefti 9{un ^a|t bu mir ben
erften ©d^merj get^an; ^er ©olbat.
Goethe's §etbcnr5Slcin ; 2)er ^5nig in 3;i^ule; 9laftlofc8iebe; SBan^
brcrS SRad^tlicb; 2)cr ©anger; aWignonS Sieber (2); Sieb beg
^arfnerS; Sieb bed 3;urmcrS; ©priic^e (24).
Ruckert's SBibmung; 3oSmtnenfttaud^j SBenn id^ frtt^ in ben ©arten
ge^'; 8c^neeg(odCd^en ; £iebedfrUI^(ing.
Morike's (Sr tft'g; 2)a3 perlaffene aWftgblein; 2)ie ©olbatenbraut;
SungSSolfergSieb; ©d^an:s3lo§ttaut.
J. Kerner's SBanberlteb; ©titte Siebe; ©ttUe 2:i^ranen ; Sllte Saute.
Uhland's 2)eg ^naben Secglieb; 2)eg ©angerS gludj; 2)er ©c^mieb;
2)ie ^apeUe.
Lenau's ©tnfamfeit; ^ommen unb ©d^eiben.
Wunderhorn, 2)^artenn)iirmd^cn.
Folk songs, ©djmtter %o\>; SBenn idj ein S35glein xo(iv'; ®8 pel ein
Sleif.
Gustav Albert Lortzing (1803-1851)
2)er SBilbfc^ilt, ober bie ©timme ber iWotur, comic opera in 3 acts,
after a comedy by Kotzebue, libretto by Lortzing.
Unbine, romantic opera in 4 acts, after Fouqu^'s " Undine," libretto
by Lortzing.
Felix Mendelssohn- Bartholdy (1809-1847)
Wrote overtures to Shakespeare's " Midsummer Night's Dream,"
Goethe's ®rfte SBalpurgignadJt, Tieck's aWelufine.
Set to music (a selection):
Eichendorff's 2lbfd^teb; 2)te©tiae; 9lad^tHeb; 3)er frol^e SBanberS:*
mann ; ^agenlieb ; SBanberlieb ; ®S weig unb rat§ eS bod^ Jlciner.
Uhland's ©d^aferS ©onntogSUeb; grii^lingSglaube ; a)ie SRonne;
^irtenlieb; 2)aS ©d^ifflein.
Lenau's ©d^ilfUeb; 2luf ber SBanberfc^aft ; 2ln bie ©ntfetnte; gril^^
UngSUeb.
Heine's ^uf ben S^^geln beS ©efangS; Seife jiel^t burd^ mein ®e*
mut; S'leueSiebe; SSerluft; ©ru^; aWorgengru^; Sleifelieb; SlU*
nfid^tlid^ tm ^raume; Xet ^erbftroinb riittelt bie S3oume.
Goethe's SKeereS ©tiUe; ©uleifa (2); 2)ie Siebenbe fd^rcibt; ®rfter
SBerluft.
Geibel's 2)er SWonbj SBenn fid^ gwei ^ergen fc^eiben.
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THE MUSICIANS
Fallersleben*s ^rbftunQ; ©ccmannS ©d^cibcUcb.
Wunderhorn, aWinncltcb; Sagblicb.
Folk songs, ©d^nitter Xot>; ®S fiel ein 3lctf ; D Sugcnb; ®mtelieb.
Tieck*s TOnnelieb.
Immermann's 2;obcSlicb ber Sojarcn.
Schiller's 2)e3 2Rabc^cnS ^lagc.
Simrock's SBarnung t)or bem SR^ein.
Robert Franz (i8i 5-1892)
Set to music (a selection) :
Heine's 2luS mcincn gro^cn ©djmcrjcn; 3w tounberfc^dnen 2Wonat
2Rai; D liige nic^t; ©tctne mtt ben golbencn gii^d^en; 3m
di^tin ; 2)tc SotoSblumc ; 2lm (eud^tcnbcn ©ommcrmorgcn ; grii^s
Unggfcicr; ®g ragt inS 2Rccr ber SRuncnftctn ; 2luf bcm 2Kccrc;
2Kabc^cn mtt bem rotl^cti 2Wunbc^en; SBie bcS 2Wonbeg ^bbilb;
Xuvd) bcti 2Balb tm 2Wonbcnfc^cm ; ®in gic^tcnbaum ftc^t cin*
fam; 2)og 2Kcer crftra^lt tm ©onnenfc^cin ; SBanbl' id^ in bcm
©alb bcS 2lbenbS; ©ic licbtcn fid^ bctbc; S^ilbc ^acolb; i*cife
jic^t burd^ mein ©cmiit ; ®S f aHt cin ©tern ^erunter.
Lenau's S3ttte ; ©d^ilf Ueb ; SiebcSfcict ; SBinternad^t ; 9luf gcl^cimcm
SBatbcgpf abe ; ©onnenuntergang ; grii^Iingggcbrange ; ©tillc
©id^cr^cit ; 2luf bcm %dd).
Geibel's 2)te Sotogblumc; gUr 3Kufif ; S'lun btc ©d^attcn bunfcln.
EichendorfPs S)cr ©c^alf; ®utc S'lad^t; 2)cr S3otc; 3Wccre3ftiUe ;
diomanje.
Morike's Um 2Rtttcmad^t; 2)aS ocrlaflenc 2Wagb(cin; Slofensctt;
SBcrborgcn^cit; 2)cnf c3, D ©cetcl
Fallersleben's S)ie gorben ^elgolanbS ; gcii^Ung unb Siebc ; 2)op'
|)cln)anb(ung.
Riickert's ®r tft gcfommcn.
Goethe's 9laftlofe Sicbc.
Chamisso's 3)cr ©olbat.
Storm's 3Mcinc 3Wutter ^at'S gewollt. (From " Immensee.")
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SECTION XII
THE ROMANTIC PAINTERS
The very shibboleth of German Romanticism was Art.
Tieck's " Stembald," Wackenroder's " Phantasien uber
die Kunst/' A. W. Schlegel's " Die Gemalde," Morike's
*' Maler Nolten," to say nothing of the various novels and
dramas that have artists, historical and fictitious, as heroes,
would prove this if proof were necessary. The Romanticists
were interested in all that is pleasing, and man's three chief
mediums of expressing his ideas in a pleasing way are
words, colors, sounds. Goethe wrote ** Erlkonig," Mgritz
von Schwind painted it, Schubert set it to music. Such
instances of triple composition are conspicuously numerous.
We have but to think of the ** Nibelungenlied," RetheFs
panels and Wagner's music in a very general way, and
Uhland's ** Schloss am Meer," K. F. Lessing's painting
and Raff's music in a very specific way. Not to discuss
painting in a treatise on German Romanticism is to leave
the treatise a torso ; though the men of letters were not,
like William Blake and D. G. Rossetti in England, also
painters. No one studies, for example, E. T. A. Hoffmann
as a painter, though he painted.
And it is this again that separates Weimar from Jena.
Weimar, starting from Winckelmann who preached the
glories of ebte ©infatt unb ftiHe ®r6fee, and listening to
Goethe, wanted clear outline, regular execution and
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THE ROMANTIC PAINTERS
classical subject : did not Homer make many themes so dis-
tinct that they were already half painted ? Jena, that is to
say Diisseldorf-Rome, demanded and acquired bold outline,
original execution, popular theme, and landscape. But
Diisseldorf-Rome was not only national and popular, it was
pious. For this piety Goethe had no patience. He had
time for Hackert and Zahn, he had no time for Runge and
K. D. Friedrich. He would, to be sure, have wasted some
effort had he spent much time on some of the Romantic
Nazarenes, whose creations have not received the universal
suffrage of the initiated. Nor did the men of letters always
succeed in writing holy literature. And there is a striking
similarity between the tendencies of the painters and of
the writers, a similarity expressed by Karl Immermann
as follows : Unb tomn biefe ©timmung tbm bie fentimentat
romantifd^e ttjar, unb h)enn barin ba^ SBcid^e, gcrtie, Wn^ita^
tifd^e, Sontemptatit)e anftatt beg ©tarfen, SRal^en, 5piaftifd^cn,
^nbetnben t)ortDaItete, tDarum fd^ettet ^\)x bie aWalerei,
ba St)r bie ^JJoefie gelobt ^abt, ber St)r aHe einen %di ©urer
SBilbung t)erbanft ? S)ie 5poefie ging toxan, bie 9KaIerei folgtc,
unb eg ttjurbe l^ier ehDog toa^v, tpag Souig be SWa^narb in
feiner SBetrad^tung fiber bie neuere Sunft ber granjofen ein-
mat fagte : ''L*id/e passe du papier d la toiled And the
observation is apposite.
There were also a number of sculptors and architects
who lived at the same time as the Romanticists and asso-
ciated with them. It is, however, impossible to speak of
Romanticism in the specifically plastic arts. Romanticism
was subjective. And just as music is the most subjective
of the arts, so are architecture and sculpture the most
objective. AH Classic art was objective, to indulge in a
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OUTLINE OF GERMAN ROMANTICISM
fairly tenable generality ; the predominant art form in the
Classic Ages was sculpture ; in the Middle Ages it was
architecture ; in the Renaissance it was painting ; now, as
it was in the days of Romanticism, it is music. If, then,
we find sculptors such as Rauch, Rietschel and F.Tieck, and
an architect like Schinkel living at the time of the Romanti-
cists and associating with them, let us not try to make them
out Romanticists ; their art does not admit of such classi-
fication. Nor is it proper, though it has been done, to speak
of Sophie Schroder, P. A. Wolff, Esslair and L. Devrient
under the caption of Romantic actors. Time gives to con-
temporaries a similarity of interest and inclination; it
changes the fundamental principles, the main types of art
not at all. There is as much difference between the paintings
of A. J. Carstens and J. A. Koch, with their Classic ideals, .
and those of Richter and Schwind, with their Romantic
ideals, as there is between the writings of Goethe and
Wackenroder on painting ; and we cannot call Friedrich
Tieck a Romantic sculptor simply because he was the
brother of Ludwig Tieck, a Romantic writer.
In the matter of Romantic literature and Romantic
painting, we have only another exemplification of the fact
that literature is an artistic visualization and faithful reflec-
tion of life ; it not only includes everything that goes to
make up life, it is coeval with life. The various ways in
which art manifests itself have changed from time to time ;
literature has remained about the same. The lyrics of
Sappho, the epics of Homer, the dramas of Sophocles
have not been improved upon. Literature comes first.
And just as the poems of Goethe and Heine were written
first and the compositions of Schubert and Schumann
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THE ROMANTIC PAINTERS
came later, so did the Madonnas, landscapes, sagas, folk
songs, fairy tales, and lyrics of the Romantic poets come
first ; and then came the paintings of these by the men
here listed. The number is nearly complete. Each one
is accompanied by a brief note of characterization and a
sufficient number of his works to show in what direction
he tended.
Though it would seem at first blush that all color-art is
Romantic, it is just in this phase of the century that we
must proceed with the strictest adherence to tradition.
Beginning with K. D. Friedrich, born in 1774, and clos-
ing with A. Rethel, who died in 1859, we have sixty years
of Romantic painting ; we have no more. And even in these
sixty years we must allow time for genesis and attenua-
tion. The flowering time of Romantic painting was from
about 1 8 10 to about 1835. At least, one cannot go beyond
the sixty years. J. A. Koch's " Schmadri-Wasserfall im
Lauterbrunnen Tal " is certainly romantic. But Koch,
bom in 1768, came too early to be included in the group
that oscillated between Diisseldorf and Rome ; he stayed
too exclusively in Rome. And Bocklin's " Meeresbran-
dung" is certainly romantic, but Bocklin, born in 1827,
came too late. Anyhow, his paintings, though they remind
one somewhat of ** Undine " and her kind, have also a
strong tinge of Classical mythology ; there is too little in
Bocklin that drives us to German legends to get the con-
nection. But if we take Friedrich at the beginning or
Rethel at the end, we move in the same world that the
Romantic poets poetized. And though paintings, like
concerts, are not always accessible, the student has not
done his full duty, he has not availed himself of his real
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OUTLINE OF GERMAN ROMANTICISM
opportunity, until he has seen what the idea in question
means to the man who expresses himself in colors. There
is diluted Romanticism even in such a painting as Karl
Spitzweg's ** Gedanken sind zollfrei."
BIBLIOGRAPHY
2)ic bcutfdjc 5lunft bcS ncunsc^ntcn 3tt§r§unbertS. By Cornelius
Gurlitt, Berlin, 1907. 722 pp. The best book on the subject. It is
Volume II in the series " Das neunzehnte Jahrhundert in Deutsch-
lands Entwicklung," edited by Paul Schlenther. Read especially
chapter v, ** Die Romantiker," pages 180 to 279. The illustrations are
excellent and the painters are discussed in connection with the men
of letters.
(Sefd^ul^tc bcr 3Ka(crci. By Richard Muther, Leipzig, 1909. In 3 vol-
umes. Read Volume III, 602 pp. A history of painting in general, not
simply that of Germany.
Sllfrcb Jlet^cl: ^eS 3KcifterS 2Bcrlc in 300 SlbMlbungcn. By Josef
Ponten, Stuttgart and Leipzig, 191 1. 202 (large) pp. An excellent book
in an excellent series, "Klassiker der Kunst," Volume 17. There is
also one on Schwind, Volume 9.
Jlungc Uttb bic Jlomantif. By Andreas Aubert, Berlin, 1909. 127 pp.
The best, the only book on Runge. Illustrated. A valuable work because
of Runge*s relation to Tieck and his similarity to Novalis.
3)laS!engcfprcidJc. By Karl Lebrecht Immermann, in " Diisseldorfer
Anfange," 1840. 108 pp. Immermann lived with and knew intimately
the Diisseldorf group of painters.
gutter jur ^unft. SSon bcutfdjcr ^unft. By Karl Woermann, Ess-
lingen, 1907. 85 pp. A very good small manual.
The Schools of Modern Art in Germany. By J. Beavington Atkinson,
New York, 1881. 150 (quarto) pp.
2)cr beutfd^c ©iccronc. By G. Ebe, Leipzig, 1898. In 3 volumes.
Volume III, 475 pp. Read pages 301 to 397 (" Epoche der Klassik und
Romantik ").
2)cutfcl^e ^unft unb beutfd^c ^olitif. By Richard Wagner, Leipzig,
1868. 112 pp. A series of detached articles that deal mostly with the
musical and mimetic arts, but of much general interest and value.
(Srunbrift bcr ^unftgcfdjid^tc. By Heinrich Bergner, Leipzig, 191 1.
333 PP- There is a second edition, 191 2, slightly changed and enlarged.
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THE ROMANTIC PAINTERS
Contains 448 illustrations. An excellent manual from which to get a
general idea of architecture, sculpture and painting.
^cutfc^c ^Uttft in aSBort unb garbc. Edited by Richard Graul, Leip-
zig, 191 1. A most excellent work.
^auSbuC^ bcutjc^cr 5lunft. Compiled by Eduard Engels, Stuttgart,
1907. Contains only pictures ; a superb collection.
STUDY LIST
Kaspar David Friedrich (i 774-1 840)
(Sr ift bcr cigcntUc^c Sicbling^maler ber romantifd^en ©d^riftftcUcr
geroefen. 3Jlan liebte ben melanc^olifc^en ^runbton, bie gel^eim-
nidoollc ©infamfeit^pocfie, bie Offtan=<Stimmung feiner S3ilbcr. —
Muther.
" Kreuz im Gebirge," " Der Sturzacker," " Landschaft mit Regen-
bogen," " Mondbild," " Das Hunengrab."
Philipp Otto Runge (1777-18 10)
2)aS ©tubium ber 2llten unb baS ®ntn)i(fe(n atter ©tufen bet ilunft
barauS ift jroar fe§r gut, eS lann aber ben [bem] ^iinftler nid^tS f)eU
fen, TOcnn er nid^t ba^in lommt unb gebrac^t roirb, ben gcgcnrofirti^
gen 3Womcnt bc3 ^afepnS mit aUcn ©d^meraen unb greubcn ju faff en
unb 3U betradjten; roenn nidjt aUeS, roaS il^m begegnct, perfdnlid^e
93crii§ning mit ber roeiteftcn gemc unb bem inncrften Stem feineg
2)afc9nS, mit ber alteften SSergangen^eit unb ber ^errlidjften 3wlw"ft
Wirb. — Runge to Schelling.
" Lehrstunde der Nachtigall," " Triumph des Amors," '* Ossian
mit der Harfe," ** Die Geburt Fingals," " Die Musica," Der Mor-
gen, Der Tag, Der Abend, Die Nacht, four parts of his chief work,
** Die Tageszeiten."
Peter Cornelius (i 783-1867)
6r ^at nac^ feinen cigenen 3Bortcn in ben S3ilbern fcinc p^ilofopi^is
fdje ^oftorbifjcrtation gefd^riebcn. ®r roar ber OeifteSocrroanbte ber
grogen @e(el^rten, bie bamald i^re tiefabgrilnbigen p^ilofop^ifd^en
@9ftcme crfanncn. ©ignoretti, ^ttrer, 3laffac(, ©oboma unb 3Wid^eU
angelo gcben fid^ [bei i^m] ein poftJ^umcS ©tcUbic^cin. — Muther.
"Die apokalyptischen Reiter," "Joseph deutet die Traume Pha-
raos," " Gretchen im Kerker," " Das jiingste Gericht," " Nibelungen-
lied," " Faust und Mephisto am Rabenstein."
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OUTLINE OF GERMAN ROMANTICISM
Franz Pforr( 1 788-181 2)
^forr roarf fid^ barauf, 2)iirerS Sltt ju crgrilnbcn. ®r ift fcin ^tad^^
al^mcr, fonbcrn ein roaster ililnftlcr, bet aUc goffnung %ttoa^xtt, baft
er aud bem @inben!en in anbere sur pevfdnUd^en {Jreii^eit gelangen
njcrbe. — Gurlitt.
" Rudolf von Habsburgs Begegnung mit dem Priester."
Friedrich Overbeck (i 789-1 869)
<Scit Doer bed 1813 jum ^atJ^olijiSmuS iibcrgctrctcn roar, fanb er
in biefem fcin ooUeS ®liid. ©ein ©d^affen ift Oebet, Oebet urn baS
eigene §eil unb im ©innc ber gutcn SCerle urn bag ^l anbercr.
Overbed neigte fic^ in S3erounbcrung x>ox %va 2lngelico. — Gurlitt.
"Magnifikat der Kiinste," "Joseph wird von seinen Briidern ver-
kauft."
Wilhelm Schadow (1789-1862)
2)ic 2)icl^ter unb <Sagcn aClcr Seiten mufttcn i^re bcftcn ©toffc i^cr?
geben. Slomantifc^e ^dnigSfinbcr, fd^dne graucn, §irten!naben unb
Jlfiubcr, geen unb ©rjoatcr, fd^lieftUd^ aud^ roeinfrd^Iid^e ©pieftbilrger
unb frommc S3auern rourben ju l^iibfd^en S3ilb(^cn oerarbcitet. —
Bergner.
" Die heilige Familie," " Paradies, Fegefeuer und Holle, nach
Dante," " Die freigeborene Poesie," " Mignon in die Saiten grei-
fend," " Die heilige Hedwig," portraits of Immermann, Felix Men-
delssohn, Thorvaldsen.
Philipp Veit (1793-1877)
^§i(ipp aSeit auS granlfurt, ber alS ®n{el SKofeS 3Kcnbe(Sfo§nS, alS
©ol^n 2)orotl^ea SJeit unb ©ticffo^n gricbridj ©djlegelg feinc SwQ^nb
in fc§r fiftl^etifd^en ^rcifcn oerlebt §at, crinncrt an a3orgognone.
@eine beiben sbauptroerle finb t)on einer nic^t unf^mpat^ifd^en trciua
merifd^en 2BcidJ§eit. — Muther.
" Selbstbildnis aus der Jugendzeit," '* Die Einfiihrung der Kiinste
in Deutschland durch das Christentum."
Julius Schnorrvon Carolsfeld (1794-187 2)
aSon feincn [SomeliuS] ©d^iilem maite ©d^norr in ber 2Mand^cner
Slefibenj in groften greSIen baS ^Ribelungenlieb, f d^dne 3Wenf djen, f^dne
jlleiber unb er^abene ©ebfirben, aber roenig ®eift. 2)ie SBilberbibel,
weld^e er im Sllter in 2)reSben seid^nete, ift unf agbar eintbnig.— Bergner.
"Familie Johannes des Taufers bei jener Christi," "Verkiin-
digung," " Bildnis Friedrich RUckerts.'*
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THE ROMANTIC PAINTERS
Karl Rottmann (i 798-1 850)
Slottmann judaic bic ©cfc^ic^tc in bet Sanbfc^aft, fci cS bic S3cgcbens
^eiten auS bem £eben bet S^dltet ober bie Umn)a(aungen bet @tbe;
xoxt fie SJuIfanc unb roilbc S3crglintcn bcm im ©cifte 2llejattbcr Don
^umbolbtg Saufd^cnbcn crjiii^lcn. — Gurlitt.
. " Marathon," " Celafu," *' Meereskuste im Sturm."
Joseph von Fiihrich (i 800-1 876)
S3ci bcr tibcrroiegcnb poctifd^cn Slnlagc bc8 jungcn iliinftlcrS roaren
eS begrciflid^errocifc bic 2)icl^tcr, rocld^c il^n anaogen, awnad^ft roirftcn
beftimmcnb auf il^n ©c^iUer, Xicdt, SflooaliS, ©d^lcgel unb 3Badfens
rober. — Grueben.
" Marias Gang iiber das Gebirge," ** Der arme Heinrich," " Das
alte und neue Rom."
Adrian Ludwig Richter (1803- 1884)
2)cr ungc^eurc oolfStilmlic^c SBctt ber 5lunft Subroig 3lid^ter3, auf
ben rool^l malerifd^c Zaitnit xoxt Xaf)i unb gricbrid^ in frttl^cr Swgenb
cingcroirft fatten, bcr a5er aud^ in ben ^reiS bcr SRaaarener getrcten
roar, liegt ebenfaUS auf feincm gutmiltigcn (Sracii^lertalcnt. 2113 3KaIer
fuc^te er fic^ an ber SBeife bc3 aUDcrcl^rten, aw f^^^ oerftorbenen 5larl
go^r au Mlben, beffen Sanbfc^aften oon ber jungen ©d^ar ber Jlbm?
linge berounbert rourben. 2lber weit bebeutenber alS ber Scaler an=
mutiger, mit einer gttUe oon giguren ftaffierter Sanbfd^aftcn, ift bod^
ber Qex^ntt ^x^tex, — Graul.
" Im Mai," "Am Rhein, da wachsen unsre Reben," " Uberfahrt am
Schreckenstein," ** Brautzug im Friihling," " Es fiel ein Reif," " Ge-
novefa," '* Dornroschen," " Der kleine Daumling," "Abendandacht."
Moritz von Schwind (1804-187 1)
6incm ^oeten roie er einer roar, fam eS gar nidjt an auf malerifdje
(Sefd^idElid^Ieit ober auf treue ^Raturroiebergabe, roie fte oon ben Siins
gem am SBerf, x>on ben „realiftifd^en* ^iftorien^ unb ©enremalern,
geforbert au roerben begann. S)urd^ bie Seftiire ber 2Winneftnger roar
er gana auf bie romantifd^e SBelt unb in bie ^errlid^feit altbeutfd^er
^ergangen^eitunb trauter 972&rd^enpoefie §ingefitl^rt roorben, unb road
er . . . gefdjaffen §at, ift ein ^o^S Sieb auf bie poetifd^e ©innigfeit
beutfdjer 2lrt unb beutfd^er ^id^tung. 2lud^ roo er Bitnen bed garni*
Uenlebend fd^ilberte, a^^dte er fie im ^eiteren Slbglana acttter ^oefie
ober golbenen §umord. — Graul.
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OUTLINE OF GERMAN ROMANTICISM
'* Die Morgenstunde," " Die Hochzeitsreise," '* Elfenreigen," '* Die
Symphonic," " Waldkapelle," " Die Schopfung," " Die schone Me-
lusine," " Die sieben Raben," " Die Rose," " Der gestief elte Kater,"
" Erlkonig," " Rubezahl," " Aschenbrodel," " Morgengrauen," '* Des
Knaben Wunderhorn."
Friedrich PreUer (1804-1878)
5m tocitcren SJwlauf fcincr 3«9ettb tourbc ^rcttcr im SBcfcntlid^cn
burd^ ©oct^eg giirforgc bwgcftalt bcgiinftigt, baft er im ©inblid auf
fcinc fpatwcn Sciftungcn alS cin bctufcncr aScrtretcr bet ^unftlc^rc
bcS 2)idjtet:d gcltcn batf. ^m ©olorit §at ^teller in fcincn Db^flccs
lanbfc^aften bad ^ettevleben bed 92orbend in munbetfamen @in!(ang
gcbrac^t mit bcr gormcnllari^cit bed ©iibenS. — V. Donop.
** Odysseelandschaft," ** Norwegische Landschaft."
Wilhelm von Kaulbach (1805-1874)
§attc er bie aGBirllic^Icit biSl^et nur Don bet roibcrrofirtigften ©eitc
!ennen gelemt, unb roar feiner reidjbegabten 3tatav ber gbealiSmud
fcinedwcgg fremb, fo mufttc i^m bieglud^t t)or ber ©egenroart ing rocite
dieiiS) ber ^^antafte, n)e(^e bad c^araEteriftif d^e SRoment ber @c^ule n)ie
berSiomantil iiber^aupt Mlbet, rool^l entfpred^en, obrool^l feinSebeni^n
lel^rte, fie balb mit bem ^ftrteften Jlealidmud ju oerbinben. — Fr. Pecht.
** Der Verbrecher aus verlorener Ehre," " Die Zerstorung Jerusa-
lems," " Die Hunnenschlacht."
Johann Wilhelm Schirmer (i 807-1 863)
2lld iianbfd^aftdmaler fte^t ©(firmer in 2)eutfcl^lanb neben Seffing
aid §ert)orragenber SSertreter ber 2)iineIborfer ©d^ule. 2ln 2:iefe bed
3'laturftubiumd Seffing ebenbtirtig, in ber 3Wannigfa(tigfeit ber Slufs
gaben, bie er jeinem ^infel fteUte, uberlegen, fte^t er aid Sbealift ber
Sanbfd^aftdmalerei neben ?lottmann unb ^reUer. 3Jlan fc^fi^t bie 3a§(
feiner audgefil^rten fclgemdlbe auf 230. — V. Weech.
"Deutscher Urwald," "Italienische Landschaft mit Pilgem,"
" Vom Heidelberger Schloss," " Wetterhorn."
Karl Friedrich Lessing (1808- 1880)
®d fe^It i^m bie 2Beite bed SBlicfed; ed fe^It i^m ber Tlui, bie gro^
ften ©rfd^einungen feiner ^unft ind 5luge ju faffcn. @ein ^^sjelin*
mar bad cin^ige unter ben;teueren 33ilbern bed 3Wufeumd, weld^ed mir
neben ben alten SCerlen ©tid^ ^ielt. — Immermann.
"Motiv aus dem Harz," "Die tausendjahrige Eiche," "Hus auf
dem Scheiterhaufen," " Belagerung."
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THE ROMANTIC PAINTERS
Karl Spitzweg (1808-1885)
Obn)o§( et toeber 8auem noc^ ^inber malte^ jiDitf d^ert auc^ in feinen
SBcrlcn, roic in cincm mcffingncn 25ogcl5aucr eingcf d^loflcn, bie gan^c
Slomantif. SlUcS rooran man bcnft, rocnn baS 3Bort S3icbcrmcier5eit
gcnannt roirb, ift Dcrcinigt: 3Batbc3luft, fleinftcibtifci^cS ©tiUcbcn,
HKufil unb HKonbfd^cin. — Muther.
" Beim Morgenkaffee," ** Flotenkonzert," " Der Friede," " Spazier-
ganger," "Lekture," "Der Pfarrhof," "Strickender Monch," "Der
arme Poet."
Eduard Steinle (1810-1886)
©croo^nlid^ nimmt BieinU fiir feine reid^c ©d^opfungSftaft bic
gorm bcS ©^cluS in 2lnfpnid^ : l^icr ©erftc^t cr eS, namcntlid^ in ben
fpatercn SBerlcn, mit grower bramatifd^er ^raft ben gortgang bcr ©r^
gci^lung SSieler vox 3(ugen ju fteQen; bie et t^eilg ber Segenbe^ t^eild
bent 3Karc§en unb ber poetifc^en Siteratur entnimmt: ^icrfeiin erfter
Sinic bic Segenbe ber ^eiligen ©upl^rof^nc crroa^nt, bann bie ^eiligc
SKargarita oon ©ortona, ©^neeroeijd^en unb Slofenrot, ber ^aufmann
von ^enebig, ^arjioal^ ferner bie Sd^opfungen nad^ ben ST^drc^en Don
S3rentano, in benen bie ©eltfamleiten ber romantifd^cn Saunen beS
^id^terS ju reijooUen Oebilben a5gellaret erfd^einen, roie im 3KiilIer
Slablauf, roa^renb bie braftifd^e SebenSroeiSi^eit in ben 3Kel^reren
SBe^miiUer mit Dollenbetem ^umor jur 2)arfteUung lommt. — Veit
Valentin.
" Die Lorelei," " Der Kardinal-Grossponitentiar," " Marchen vom
Rhein."
Karl Wilhelm Hubner (1814-1879)
211s er fidj gum 2)arfteUer ber bic 3cit mfidjtig 5cn)cgcnbcn focialen
gragen mad^tC; unb biefelben in Icbenbiger, n)ir!ungdDoUer ^eifc
jum ©egcnftanb feiner ©emdtbc roa^Ite, ba roar fein 9luf mit cincm
HKalc bcgrilnbet unb roud^S in erftaunlid^em aWagc. — M. Blanckarts.
"Die schlesischen Weber," "Das Jagdrecht," "Hiilfe in der
Noth," "Die Verlassenen."
Andreas Achenbach (1815-1910)
3n feiner 2luffafjung entferntc ftdj SlnbrcaS 3ld^cnbadJ t)on bcr ^o^
mantif ©dJirmerS unb SeffingS, abcr alS einen 3ug bcr gcit bci^ielt
cr cine geroiffe bramatifd^c ober pat^ctifd^e S^icigung bei, bic il^n oft ju
ciner malcrifd^ unb fad^Iid^ wCffeftooUcn'' 2)arfteaung ocrlcitctc. %voii
bicfem §ang aum „intcrcff antcn'' HWotio unb aur /ymalcrifd^cn ^ointc^
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OUTLINE OF GERMAN ROMANTICISM
^attc cr cin gut Xtxi mc^r rcaliftifd^cn ©inn unb Jlcfpeft vox bet !Ras
tur aid bic meiftcn (cincr acitgcndffif d^cn Jlioalen. — Richard Graul.
"Stiirmische Landung," " Westfalische Miihle/* " Westfalische
Landschaft."
Alfred Rethel ( 1 8 1 6- 1 859)
^ad f)at 'Sietf)ti mit Wagner gemeinfam, bafi i§re ^ttU, burd^aud
bcr Jlomantil cntfproffcn, fiir bic SRomantil i^rer ^exi nic^t wcid^lic^
genug n)aren; nur i^re §erbe realiftifd^e ^eimifc^ung ^at fie, eb(e
5lonfcrocn, bic langc Qcit iibcrfte^cn unb aud^ §cutc gcnic^bar blcibcn
laflcn. — Ponten.
" Karl Martell in der Schlacht bei Tours," '* Rudolf von Habsburg
im Kampfe gegen die Raubritter in der Schweiz," " Tod Arnolds von
Winkelried," " Die Kreuzfahrer erblicken Jerusalem," '* Rheinischer
Sagenkreis," " Loreley," '* Illustrationen zum Nibelungenlied,"
" Entwurf zum Kopfe des toten Karl," " Der Sturz der Irmensaule,"
" Saulus-Paulus," " Kampf der Kiinste und Wissenschaften," " Das
Lutherlied," "Frauenlobs Begrabnis," "Komposition zur Eroica-
symphonic."
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SECTION XIII
AN INTRODUCTORY COURSE
An introductory, an undergraduate course in literature
should inspire, a graduate course should instruct. In the
former the student should be made familiar with the most
interesting works of the period ; in the latter he should
study those works that have, unfortunately, less popular in-
terest but more historical significance. Great is the teacher
who can do advanced work in an introductory course ; rare
is the student who can be successfully instructed in litera-
ture without first having been inspired. He will not ap-
proach the source with much zest if he has not already
been interested in the best that has flowed from it. The
appended bibliography will throw abundant light on the
Romantic movement from the undergraduate point of view,
while the reading list has been made so as to cover the
entire movement, with something valuable from and typical
of each of the main writers. The course as outlined does
not contain any real dramas : the Romanticists, with the
exception of Kleist, Grabbe and Werner, were so weak
along dramatic lines that it is best for the undergraduate to
confine his attention to fiction, wherein they had, each and
all, intermittent moments of real inspiration ; and to the
lyric, wherein they excelled.
Why study just these works ? It would be impious to
defend the Grimms' '' Deutsche Sagen," containing, as the
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OUTLINE OF GERMAN ROMANTICISM
collection does, 579 stories that belong only to Germany.
The work is a golden treasury of imaginative legends indis-
solubly connected with places and people, legendary narra-
tives that the serious student of German will turn to again
and again on finding popular allusions in pure literature,
while the lover of things interesting will read them for their
own sake. Heine's work, inaccurate though it is in places,
gives one nevertheless a fairly good, and certainly readable,
account of the main landmarks in tjie Romantic movement.
The two books by Ricarda Huch, though they discuss but
little literature, are written in a style that charms and with a
wealth of content that is rare. The very chapter headings
of these books give one an insight into the comprehen-
siveness of the Romantic movement. Robertson's history
will enable the student in a short time to know where he
is at any time in his course. Spiess's chrestomathy would
be worth buying if it contained only the prose selection
from Schleiermacher, otherwise so inaccessible. The chief
merits of Wemaer's book are that it points out the mission
of the Berlin-Jena Romanticists and shows what lessons
we may learn from them. Nollen's anthology is uniquely
relevant because of the selections it contains, the introduc-
tion to these and the notes on them. Deckelmann makes
many suggestions relative to the meaning of the works
subjoined in the reading list, and closes with a catalogue
of 302 possible themes the reasonableness of which is evi-
dent and the elaboration of which would be fruitful. And
Hesse has gathered together in attractive form, with an
enlightening introduction and no impeding notes, a num-
ber of lyrics, all of which will repay reading, some of which
will justify learning.
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AN INTRODUCTORY COURSE
And why read just these works ? Tieck's ** Kater," with
its delightful attack on the naturalism of the Berlin stage,
enables one to see and to laugh at what was then going on
on the German stage ; the best satirical comedy in German
literature, it shows not only what the playwrights were
then offering but what a perverted public taste demanded.
" Eckbert," translated by Carlyle, one of the first things
Tieck wrote after breaking away from the bondage of
Nicolai, abounds in Romantic conceits and is written in
superb style. '' Ofterdingen " is Romanticism ; it symbol-
izes it. To read about this work and do nothing more is
voluntarily to stay outside of the temple when one could
without ceremony walk in and sit down. ** Wunderhom "
is the song-book of the whole movement and one of its
choicest accomplishments. It is not necessary to read all
of it ; it is unwise to read none of it. ** Kohlhaas " is a
poetization of vengeance and is Romantic by reason of its
extravagance ; it and the poems in Spiess leave one in no
doubt as to where Kleist stood with reference to his age.
*' Undine," the sole surviving child of Fouqu^'s mind,
contains Romanticism for the many ; it is lay romanticism.
" Ganzgott " reads as though it had been written by a man
in a thoroughly good humor and pictures the unfortunate
condition of a country divided into very many very small
states. The ** Kinder- und Hausmarchen " contains in
prose what ** Wunderhorn " contains in verse, with a dif-
ference as to content. The constant change from the
natural to the supernatural in *' Der goldene Topf " shows
Romanticism as it came from the mind of a man infre-
quently sober. " Schlemihl " has become a household
word ; there is always something interesting about a good
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OUTLINE OF GERMAN ROMANTICISM
man in trouble, so long as we have reason to hope that,
somehow or other, he will eventually disentangle himself.
** Kasperl und Annerl " is a short story on honor from
various points of view ; one of the first 3)orfgef(i)id^ten in
German literature, we read it and wonder how and why
Brentano wrote it. ** Taugenichts " is a delightful picture
of a romantic loafer, written by a man who was very indus-
trious. It is a SReiferomart written to please, or rather to
bring out pleasing traits in an interesting character ; not
to present a philosophy of life as did the earlier works by
Goethe and his followers that were built on a similar plan.
'* Sendomir '* is a Romantic story, full of all manner of
gruesomeness, written by Grillparzer, who is in no way con-
nected with Romanticism as a movement. *'Oberhof " is
the first happy herald of Realism. ** Heidedorf ** should be
studied for its picture of nature ; one could write an interest-
ing study on it in comparison with Tieck's " Runenberg."
Morike's ** Mozart " is one of those many ^unftterromanc,
and a more delightful one than Morike's is not to be found
in German literature. And Wagner*s " Meistersinger "
takes us back to the late Middle Ages, from which, ac-
cording to Heine, the whole movement started.
BIBLIOGRAPHY
1816. The Grimm Brothers: 2)CUtfcl^C ©agctt (Nicolaische Verlags-
Buchhandlung).
1833. Heinrich Heine : 2)ie romantifd^e ©d^ule (Cotta).
1899. Ricarda Huch : SSliitcjcit bet Slomanti! (H. Haessel Verlag).
1902. Ricarda Huch : 2luSbreitung unb SScrfall bcr Jlomantil (H. Haessel
Verlag).
1902. John G. Robertson: A History of German Literature (William-
Blackwood and Sons). Pages 399-557.
1903. Heinrich Spiess: 2)ic bcutfdjcn Siomatttifw (G. Freytag).
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AN INTRODUCTORY COURSE
1 910. Robert M. Wemaer: Romanticism and the Romantic School in
Germany (Appleton).
191 2. John Scholte Nollen: German Poems, 1800-1850 (Ginn).
191 2. Heinrich Deckelmann: 2)ic Sitctatur bcS ncunjc^ntcn Sct^^^^utt-
bertS im beutfc^cn Untcrrid^t (Weidmannsche Buchhandlung).
191 3. Hermann Hesse: 2)cr gauberbrunnen. 2)ic Sicber bcr bcutfd^cn
Jlomantif (Gustav Kiepenheuer Verlag).
READING LIST
1797. Tieck: 2)cr gefticfeltc 5later (Cotta).
1797. Tieck: 2)er Monbc @dbcrt (Cotta).
1800. Novalis : ^cintici^ t)on Dftcrbingcn (Hesse).
1805. Amim and Brentano : 2)c8 ^nabctt SBunbet^otn (Reclam).
1810. Kleist: HKid^acl ^o^l^aaS (Holt).
181 1. Fouqu^ : Unbinc (Holt).
181 1. Amim: gilrft (Sattjgott unb ©finger ^albgott (Reclam).
181 2. The Grimm Brothers : 5linbers unb SauSmard^cn (Holt).
1813. Hoffmann: 2)cr golbenc %op\ (W. Langewiesche-Brandt).
181 4. Chamisso: ^ctcr BiS)itmxf)l^ rounberfamc ©efd^ic^tc (Holt).
1 81 7. Brentano: (Scfc^tc^tc Dom braocn ^afpcrl unb fc^dncn Slnncrl
(Reclam).
1826. Eichendorff : 2lu8 bcm Sebcn cincS 2:augcni(^tg (Holt).
1828. Grillparzer: 2)a8 5llofter bei ©cnbomir (Cotta).
1839. Immermann: Xex Obcr^of (G. Freytag).
1840. Stifter: ^aS ^cibcbotf (American Book Company).
1855. Morike : 3Jloiaxt auf bet Slcife nac^ ?rag (Ginn).
1862. Wagner : HKciftcrftngct t)On SWiimberg (American Book Company).
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INDEX
Achenbach, Andreas, 253-254
Alexis, Willibald, 73, 74-75
Amdt, E. M., 73, 74, 76-77
Amim, Achim von, 55-56, 57-59,
357» 259
Baader, F. X. von, 221
Beneke, F. E., 230, 232
Bemhardi, A. F., 218
Boisseree, M., 32, 222
Boisser^e, S., 32, 222
Borne, Ludwig, 142-143
Brentano, Clemens, 56, 59-61, 258,
259
Buchner, Georg, 145
Carov^, F. W., 223
Canis, K. G., 222
Chamisso, Adelbert von, 56, 62-
64, 257, 259
Clauren, H., 7, 19
Cornelius, P., 249
Creuzer, G. F., 221, 223
Droste-Hiilshoff, Annette von, 73,
77-79
Eichendorlf, Joseph von, 56,
68, 189, 190, 258, 259
Engel, Johann Jakob, 6
Eschenmayer, A. K. A., 218
Fallersleben, Hoffmann von,
79-80
Feuerbach, L. A., 230, 232
Fichte, J. G., 15, 156, 225, 227-:
231
Fouqu^, Fr. de la Motte, 73,
82,257,259
Franz, R., 235, 243
65-
73»
228,
81-
Freiligrath, Ferdinand, 73, 83-84
Friedrich, K. D., 247, 249
Fries, J. F., 229, 232
Fiihrich, J. von, 251
Geibel, Emanuel, 73, 74, 85-86
Gentz, Fr. von, 218-219
Gerstenberg, Heinrich Wilhelm
von, 13
Goethe, xx, xxi, xxii, xxvii-xxviii,
3, 4, 10, 12, 15, 17, 20, 21, 23,
30, 32, 178, 211, 212, 214, 229,
233» 245' 246
Gorres, J. J. von, 220-221
Grabbe, Christian Dietrich, 73, 74,
87-88, 255
Grillparzer, Franz, vii, 47, 1 50, 179,
194, 258, 259
Grimm, Jakob, 220, 255-256, 258,
259
Grimm, Wilhelm, 220, 255-256,
258, 259
Griin, Anastasius, 73, 74, 88-89,
168-169
Giinderode, Caroline von, 223
Gutzkow, Karl, 144-145, 170
Halm, Friedrich, 73, 90
Hamann, Johann Georg, 13
Hauff, Wilhelm, 73, 74, 91-92
Hegel, G. W. F., 225, 228-229, 230,
232
Heine, Heinrich, xxiii, 73, 92-100,
142, 163, 178, 190, 196, 197, 210,
256, 258
Heinse, Wilhelm, 14
Herbart, J. F., 229-230, 232
Herder, xvi, xix-xx, 3, 8, 9, 12, 15-
16, 226, 227
Herwegh, Georg, 73, 74, 101-102
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OUTLINE OF GERMAN ROMANTICISM
Here, Henriette, 219
Hoffmann, Ernst Theodor Ama-
deus, 73, 74, 102-106, 234, 235,
237» 244» 257, 259
Holderlin, Friedrich, 22-23, 26-29
Houwald, Ernst von, 48, 50-51
Hubner, K. W., 253
Hiilsen, A. L., 215, 218
Humboldt, Alexander von, 218
Humboldt, Wilhelm von, xv, 218
Iffland, August Wilhelm, 7
Immermann, Karl Lebrecht, 73,
107-108, 179, 252, 258, 259
Jacobi, Friedrich Heinrich, 13
Kant, Immanuel, xxi, xxii, 212, 224,
226-227, 228, 229, 230
Kaulbach, W. von, 252
Kemer, Justinus, xxv, 73, 74, 109-
iio
Kleist, Heinrich von, 73, 74, iio-
118, 168, 170, 255,257, 259
Klinger, Friedrich Maximilian von,
lo-ii, 13
Klopstock, viii, xviii
Komer, Theodor, 73, 74, 1 18-120
Kotzebue, August von, 7
Kreutzer, Konadin, 235, 239
Lachmann, Karl, 221
Lafontaine, A. H. J., 6, 7
Laube, Heinrich, 141, 143-144, 162
Lavater, J. K., 13
Leisewitz, Johann Anton, 13
Lenau, Nikolaus, vi, 73, 1 20-1 21,
169, 242, 243
Lenz, J. M. R., 10, 13
Lessing, G. E., xv, xvi, xviii, xix,
155, 175,214, 227
Lessing, K. F., 244, 252
Levin, Rahel, 219
Loeben, Graf von, 223
Lortzing, G. A., 235-236, 242
Lowe, Karl, 233, 235, 236, 240
Marschner, Heinrich, 235, 236, 239
Mendelssohn, Felix, 235, 242
Menzel, Wolfgang, 143
Mereau, Sophie, 212
Mesmer, Franz Anton, 222
Mettemich-Winneburg, C. W. N.
L. von, 169, 222
Morike, Eduard, 73, 74, 122-124,
258, 259
Miiller, A. H., 221
Miiller, Fr., 14
Miiller, Wilhelm, 73, 124-125
Milliner, Adolf, 48-50, 51-52
Mundt, Theodor, 141, 142, 144
Nestroy, Johann Nepomuk, 73, 1 26
Nicolai, Friedrich, 4, 6
Nicolai, Otto, 235, 236, 241
Niebuhr, B. G., 222
Novalis, xvi, xxii, xxv, xxvi, 15-18,
16, 17, 3i» 37-4i» 257, 259
Ockenfuss, Lorenz, 217
Overbeck, Fr., 250
Paul, Jean, see Richter, Johann
Paul Friedrich
Pforr, Franz, 250
Pichler, Karoline, 7
Platen, Graf von, 73, 74, 127-129
Preller, Friedrich, 252
Rahel Levin, see Levin, Rahel
Raimund, Ferdinand, 73, 129-130
Raumer, F. L. G. von, 222-223
Raupach, E. B. S., 7
Reichardt, J. F., 219
Rethel, Alfred, 244, 247, 254
Richter, A. L., 246, 251
Richter, Johann Paul Friedrich, 3,
22-26
Ritter, J. W., xxi, 218
Rochlitz, Friedrich, 5-6, 7
Rottmann, Karl, 251
Riickert, Friedrich, xvi, xxx, 73,
130-133, 230
Runge, P. O., 249
Savigny, Fr. K. von, 222
Schadow, F. W. von, 250
Schelling,Fr.W.J.von,225,229,232
Schenkendorf, Max von, 73, 133-
134
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INDEX
Schiller, xxviii,3,4, 12, 15, 16, 18-
20, 21, 47, 50, 72, 135, 182
Schirmer, J. W., 252
Schlegel, Caroline, 217
Schlegel, Dorothea, 217
Schlegel, Friedrich, 16, 31, 43-46,
184-185, 214-215
Schlegel, Wilhelm, xv, xviii, xxi,
15, 16, 17, 18, 31, 32, 41-43' 177.
211-212, 215, 244
Schleiermacher, Fr. E. D., xxvi,
228
Schnorr von Carolsfeld, J., 250
Schopenhauer, Arthur, 230, 232
Schubart, C. F. D., 14
Schubert, Franz, 233, 235-236, 240-
241
Schubert, G. H., 221
Schulze, Ernst, 73, 74, 134-135
Schumann, Robert, 235, 236-237,
241-242
Schwab, Gustav, 73, 135-136
Schwind, Moritz von, 251-252
Silcher, Friedrich, 235, 236, 239
Solger, K. W. F., 194, 219
Spitzweg, Karl, 248, 253
Spohr, Ludwig, 235, 236, 239
Steffens, Henrik, 217
Steinle, Eduard, 253
Stifter, Adalbert, 73, 136-137, 258,
259
Stolberg, Christian, 14
Stolberg, Friedrich, 14
Strauss, David Friedrich, 230, 232
Tieck, Dorothea, 219
Tieck, Ludwig, 31, 32-37, 39, 179,
208, 244, 246, 257, 258, 259
Tieck, Sophie, 218
Tromlitz, A. von, 7
Uhland, Ludwig, 56, 69-71
Varnhagen von Ense, 142
Veit, Ph., 250
Voss, Johann Heinrich, 7
Wackenroder, Wilhelm, 31, 36-37,
180, 207
Wagner, H. L., 14
Wagner, Richard, viii, 235-236,
258, 259
W^aiblinger, Wilhelm, 73, 74, 137-
Weber, Karl Maria von, 235, 236,
239
Werner, A. G., 218
Werner, Zacharias, 48, 49, 52-53,
255
Wieland, 15-16
Wienbarg, Ludolf, 140, 141, 142,
143
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